Hyperreality
Quincy Kmetz
This body of work titled Hyperreality is an experimental take on narrative painting, dealing with the immediate and unforeseen consequences of modern data technology and the lack of regulation behind it.
The narrative of this series is driven by developments in the United States following the permeation of DT, contextualized by historical events. It is purely informative, curated to draw parallels between scenes within the last century. It is structurally modeled by The Great Hack, a 2019 documentary film about the Facebook–Cambridge Analytica data scandal, produced and directed by Jehane Noujaim and Karim Amer.
This series consists of 5 paintings referred to as “pages” and acts as a visual comic book. Each painting is oil and cold wax on stretched canvas at an immersive scale (69” X 45”). Taking inspiration from political comics and propaganda posters, the goal of this work is to be reflective of the time in which it was made and easily digitized for circulation on the very platform it criticizes.
The narrative of this series is driven by developments in the United States following the permeation of DT, contextualized by historical events. It is purely informative, curated to draw parallels between scenes within the last century. It is structurally modeled by The Great Hack, a 2019 documentary film about the Facebook–Cambridge Analytica data scandal, produced and directed by Jehane Noujaim and Karim Amer.
This series consists of 5 paintings referred to as “pages” and acts as a visual comic book. Each painting is oil and cold wax on stretched canvas at an immersive scale (69” X 45”). Taking inspiration from political comics and propaganda posters, the goal of this work is to be reflective of the time in which it was made and easily digitized for circulation on the very platform it criticizes.
Artist Statement
Quincy Kmetz is an emerging artist working out of Brooklyn, New York, whose paintings, drawings, printmaking, and ceramic sculpture dive into transhistorical issues involving information, technology, and power structure. Through illustrative-like scenes, she investigates the relationship between individuals and technology. As the internet becomes the medium facilitating our meaning of connection and isolation, she contends to unveil the ill-fated reality that comes with utopia.
Kmetz’s work belongs to private collections in New York City, Los Angeles, and Moscow.
Kmetz’s work belongs to private collections in New York City, Los Angeles, and Moscow.