Now

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N̴̢͔͕̓̕̕F̸͍͎͎̈́̒̕T̵͙͍͒N̵̼̟͍͛͌͛F̸̢̺̓͜͠T̵͍͙̠̈́͒̈́N̴̢͔͕̓̕̕F̸͍͎͎̈́̒̕T̵͙͍͒͘N̵̦̼̘̽̾F̵͎͙̟͋̈́̕T̵̢̟͍͌͊̈́N̸̢͓̾͐́͜F̵̫̪͔͒̚T̸͇̦͍̈́́̽N̸͖͔͇͐͛͝F̵̡͔͓͊͒͋T̴̠̝̠̽͊N̴̝͔̈́̈́F̵̦̼͒̒͝T̸̡͖̦̀̒̕N̸̢͇͓̽͝͝F̵̞̺́̕̚T̴̝͓̈́̈́͝N̴̡͙̠̓̈́͝F̵͇̪̘͛͋͑T̸͉̝͉̐̽̀Ń̸̡͚͑́͜F̸̢̼̙̈́̚͠T̵̻̺̦̓̈́̕
DROP
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N̵̼̟͍͛͌͛F̸̢̺̓͜͠T̵͍͙̠̈́͒̈́N̴̢͔͕̓̕̕F̸͍͎͎̈́̒̕T̵͙͍͒͘N̵̦̼̘̽̾F̵͎͙̟͋̈́̕T̵̢̟͍͌͊̈́N̸̢͓̾͐́͜F̵̫̪͔͒̚T̸͇̦͍̈́́̽N̸͖͔͇͐͛͝F̵̡͔͓͊͒͋T̴̠̝̠̽͊N̴̝͔̈́̈́F̵̦̼͒̒͝T̸̡͖̦̀̒̕N̸̢͇͓̽͝͝F̵̞̺́̕̚T̴̝͓̈́̈́͝N̴̡͙̠̓̈́͝F̵͇̪̘͛͋͑T̸͉̝͉̐̽̀Ń̸̡͚͑́͜F̸̢̼̙̈́̚͠T̵̻̺̦̓̈́̕
DROP

Sapient Construction 1, 2018
GIF
Unique ed.
Dimensions variable


Unique NFT available from Foundation






Also:

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.


Also:

Abattoir Gallery


Relative Observer, 2017/2020

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



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


Also

Abattoir Gallery


Bring Into Being, 2017/2020

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


Past:

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
https://paddle8.com/work/h-spencer-young

(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


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
Acquire



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: 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


Exhibited at District Gallery, Our Favorite Things, Cleveland, Ohio



Nexus, 2014
install shot


Nexus, 2014

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.


The New Sky, 2012 (in artist framing)

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.


Mark