In-situ, 2017
Photograph
Chromogenic print
27h x 40w in. (68.58h cm. x 101.6w cm.)
ED: 2 + AP
Sneak Peak, 2020
Inkjet, 7h x 5w in
Ed: 12/15
Signed verso
This work currently included in Social Photography VIII, Group Show, Carriage Trade Gallery, New York
All sales benefit Carriage Trade
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Temporal Filaments, Chaotic Flows, 2014/2020
Memories of the Future, 2020,
Archival pigment print on dibond, UV plexi face mount, aluminum brace
48h x 36.5w in (121.9h x 92.7w cm)
Ed: 3 + AP
Signed verso
On view recently, Museum of Contemporary Art Detroit (MOCAD), 2020
Memories of the Future, 2020 is a full roll of transparency film, in shooting order, presented as indexical object, conceptually intertwining macro and micro, past and present, foregrounding the materiality of the image carrier itself.
Each 'pixel' is, in actuality, a photographically acquired abstraction of the azure daytime sky, as well as a window into our universe’s past. Slight gradient variations in light disturb otherwise monochromatic severe-clear atmosphere, yet an intriguing balance remains.
The work does not require a frame. It is ready to hang or place immediately.
Exploding Skyline, 2010
Photograph
Fuji Flex on dibond
40h X 60w in (101.6h X 152.4w cm)
ED: 10 + AP
Rox Gallery, New York, 2013
Group Show, “Ascension”
The New Sky, 2012/2017
Archival pigment print
33h x 50w in (83.82h x 127w cm)
Ed: 10 + AP
The New Sky, 2012/2017 is part of an ongoing series about solastalgia which deconstructs elements of nature into technologically influenced states. Doubling, inverting and combining vernacular photographs of the New York City sky, The New Sky employs destructive image compositing, compression and chance to generate 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.
Image 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: https://carriagetrade.org/Social-Photography-VII,115
Catalog available: https://carriage-trade-ny.myshopify.com
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
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
Our Favorite Things, Group show, Inaugural Show, District Gallery, Cleveland, Ohio
Fall, 2019
Inversion #14, 2017
Handmade darkroom print
30 x 30 in (76.2 x 76.2 cm)
Framed: 2-inch high black frame, mounted on gator archival board, 30 x 30 inches
Unique + AP
Signed on verso
Benefit Auction, Center for Art Law, Paddle8, New York, NY
Curators: Louise Carron, Irina Tarsis
https://paddle8.com/work/h-spencer-young
(Paddle8 recently taken offline)
“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
Nexus, 2014
Los Angeles
Photograph
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, in-situ, using the camera only. Vernacular images of the sky are doubled, inverted and combined, employing destructive image compositing and compression techniques, as well as chance, to draw with and remix natural elements until the desired composition is reached.
Failure is Becoming, 2014
Handmade print in artist framing
66h x 25w in (167.64h x 63.5w cm)
Ed: Unique + AP
This work is no longer available.
Failure is Becoming, 2014 is a digital photocollage comprised of vernacular photographs of the streets of Lower Manhattan, rephotography of computer monitors, and a unique handmade darkroom printing process. During the course of this work, required computational processes routinely met the limit of their capabilities, resulting in severe technological disruption, including crash screens, glitches, wireframes and other errors. All aforementioned were photographically reingested and incorporated, almost as patchwork, until the desired composition was reached.