Relative Observer, 2017/2020

20h x 30w in. (50.8h x 76.2w cm)
Signed en verso
Ed: 4 + AP

featured in

Abattoir Gallery Holiday season show at Abattoir Gallery focuses on gift-worthy small works by some of NEO’s best artists

Untitled (2012)

Ed: 5 + AP

Gestures (Hurricane Sandy), 2012


Ed: 10 + AP

Dioptric Site 1, 2013


27h X 40w in. (68.58h cm. X 101.6w cm.)
Ed: 4 + 2AP

In Dioptric Site 1, 2013/2020 natural elements in the urban environment are collaged, employing gesture, mark-making and chance, until the desired composition is reached.

Extruded Skyline, 2010

Ed: 10 + 2AP (across all sizes)


Social Photography IX
Carriage Trade, New York

Just Plane Attached, 2021
2021, inkjet print, 7" x 5"
Ed: 15

Online Preview Begins: July 21st at 2PM •
Opened: Thursday, August 5, 2021, 4-8pm
Online Sales Begin: Friday, July 23, 2PM • Gallery Exhibition extended: August 5 - October 30, 2021

Indexularity, 2014

7955h x 16412w px JPEG
Unique Ed.

This work has been sold.

For more information, please visit Foundation.

Bring Into Being, 2017/2020

20h x 30w in. (50.8h x 76.2w cm)
Signed en verso
Ed: 4 + AP

Abattoir Gallery


Center for Art Law, 2021 Benefit Auction, Capsule Auctions

Foundations, 2014

AP1, Fujiflex
17h  x 31w in. (43.18h cm x 78.74w cm)
Ed: 3 + 2AP
(larger version pictured in frame)

“Fascinated by patterns, H Spencer Young’s pixelated artworks capture the relationship between reality and dream, the visible and the elusive. Warm and cool tones merge together into a hypnotic digital blur.”

~ Louise Carron, Executive Director, Center for Art Law.


Memories of the Future, 2020

Ed: 3 + AP
Signed verso

Museum of Contemporary Art Detroit (MOCAD), Detroit, MI
Rapid Response Group Show, March, 2020

Memories of the Future, 2020 is a full roll of medium format transparency film, in shooting order, presented as object.

By foregrounding the objecthood of the image carrier, as well as the incongruity in the natural juxtapositions of the images, the work evokes a contradictory analog pixellation, as if a Jumbotron exploded and a chunk of pixels landed at your feet, with the overall picture totally unclear.

Center for Art Law Benefit Auction 2020, Paddle8, New York, NY
Taylor | Graham Gallery, New York
Curators: Louise Carron, Irina Tarsis

(Paddle8 recently taken offline)

Inversion #14, 2017

Handmade darkroom print
30h x 30w in (76.2h x 76.2w cm)
Unique + AP
Signed on verso

“Inversion 14 is a unique print from a fascinating series of lens-based artworks that represent the everyday urban scenery of lower Manhattan. This inventive work seems to be a contemporary revival of French photojournalism of the 20th century, with Young playing the part of a modern flâneur who seizes moments from the ordinary landscape while wandering in the city. Young challenges the norms of traditional photography, long considered the faithful representation of reality, in favor of a more subjective way of seeing the world. Young plays on the notion of reality and perception. Experimenting with the medium of photography, the artist uses an innovative technique by which he modifies, doubles, and inverts the pictures so that his pieces can be hung upside down. The resulting image, characterized by oversaturated colors, invites the viewer to see the city anew, linking art with documentary photography.”

- Giuliana la Monaca, Sotheby’s Institute of Art, M.A. Art Business, Student, New York.

"Inversion 14 (2017) doubles and inverts vernacular urban landscape photographs of lower Manhattan in-camera. Each print is exposed by hand. No two prints are identical. As an invitation for a collector to interact with the work, Inversion 14 can be installed in a variety of orientations, all valid, with any of the edge-pairs placed parallel to ground or rotated into a diamond position. Life can often feel like being marooned between wars of subjective realities, which, as it turns out, may be the only existing realities: Your ground might be my sky, and vice versa."

- H Spencer Young

Robot Memories, 2017/2021

1080h x 1920w
Single Channel Video
H. 264
15s loop

NFT now available on Foundation

Sneak Peak, 2020

Inkjet, 7h x 5w in
Ed: 12/15
Signed verso

Carriage Trade, New York, Social Photography VII
All sales benefit Carriage Trade
Show details

Work selected for Simultaneous Soloists, a publication on the work of Anthony McCall. Pioneer Press, New York, 2019

Additonal info.

Social Photography VII, Group Show, Carriage Trade, New York, NY
Curator: Peter Scott
277 Grand St, 2nd Fl.  New York, NY 10002
Gallery Exhibition: July 9-August 25, 2019, Extended 9/27/19

Exhibition link:,115
Catalog available:


Severe Clear, 2019

Chromogenic digital luminogram
Maple frame, dibond, museum glass (artist framing)
43h x 63w x 2d in (109.22h x 160.02w x 5.08d cm)
Ed: 4 + 2AP

Shown at Harlen Levy Projects

Nexus, 2014
install shot

Nexus, 2014

Handmade print in artist framing
50h x 70w in (127h x 177.8w cm)
Ed: 3 + 2AP

This work is no longer available.

Nexus, 2014 is part of an ongoing investigation of gesture and mark-making using computational photographic processes only. In this work, elements of nature are collaged into a technologically influenced state. Vernacular images of the sky are doubled, inverted and combined, employing compositing and compression, as well as chance, to draw with, and remix, natural elements until the desired composition is reached.

The New Sky, 2012

Archival pigment print
33h x 50w in (83.82h x 127w cm)
Ed: 10 + AP

Rox Gallery, New York, 2013 group show, “Ascension”

The New Sky, 2012/2017 is part of an ongoing series which deconstructs elements of nature into technologically influenced states. The act of doubling, inverting and combining vernacular photographs of the New York City sky evokes the substantially changing elements of our natural world, resulting in a feeling of solastalgia, which can be defined as a “form of emotional or existential distress caused by environmental change.” The New Sky employs destructive image compositing compression and chance to generate a set of interference ‘clouds’ which appear to seamlessly emerge from, and bridge, the original images of the sky. Further bringing the work into permanent “in between” state, the digital image is transferred to 8x10 film, and the print is exposed, by hand, from this transparency. No two prints are identical.