Custom Constellations, 2014

Photograph
Lightjet on dibond
40h X 60w in (101.6h X 152.4w cm)
Ed: Unique + AP



This work is no longer available.






Dioptric Site 1
, 2013/2020
Photograph

Chromogenic print on dibond
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, in-situ, employing gesture, mark-making and chance, until the desired composition is reached.





Turboparalysis, 2014
51h x 51h x 2d in. (129.54h x 129.54w x 5.08d cm.)
Laminated darkroom print, welded aluminum frame
Ed: 3 + AP

Turboparalysis, 2014, is part of an ongoing investigation of lens-based media in non-depictive, automatistic states. A 120 roll of lower Manhattan azure sky is shot, rewound and re-shot to “mark” each image. The film is scanned, then images doubled, tripled, rotated and inverted until the diamond composition is reached. This found latticework structure, balancing on one of its corners, is transferred to 8x10 film, and, hovering between analog and digital states, printed by hand from this transparency. No two prints are identical.






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
120 negative




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.





Inversion #14, 2017
Taylor | Graham Gallery, New York

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

Included in Center for Art Law Benefit Auction, 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




Endurance, 2014
Lightjet on dibond,
matte laminate, welded aluminum frame
20h x 64w in. (60.96h x 162.56w cm.)


Endurance, 2014 is three different medium format transparencies of Lower Manhattan
azure sky, taken on the same day. This work is meant to be installed on a ceiling, or leaned
diagonally against a wall. It may also be hung horizontally or vertically on a wall.







Exploding Skyline, 2010

Photograph
Fuji Flex on dibond
40h X 60w in (101.6h X 152.4w cm)

ED: 10 + AP






The Trees, 2013
Photograph
Handmade print.
46h x 64w in (116.84h x 162.56w cm)

The Trees, 2013 is part of an ongoing investigation of photographic pictorialism involving gesture and motion. Each print is unique.







The New Sky, 2012/2017 (in artist framing)
Group Show, “Ascension”
Rox Gallery, New York, 2013

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 on 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.






Foundations, 2014
Lightjet on dibond
36h x 67.5w x 4d in (91.44h x 171.45 x 10.16d cm.) (incl. artist framing, above)
Ed: 4 + 1AP


Foundations, 2014, is a doubled photocollage of gesturally composed
photographs of paint on canvas, arranged as bricks to form stable structures.
Placing the camera sensor in the role of canvas, the work draws parallels
between gesture, aura, texture and the hand of the artist in drawing and painting
as applied to photography. The Lightjet Ilfochrome format has been permanently
discontinued. This work is irreproducible in this format.






    

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

This work is no longer available.




In-situ, 2017
Photograph
Chromogenic print on dibond
27h x 40w in. (68.58h cm. x 101.6w cm.)
ED: 2 + AP





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.

Mark