“Emoji can be more than a way to liven up your digital conversations, especially for new media artist Carla Gannis. With The Garden of Emoji Delights, Gannis reconstructs Hieronymus Bosch’s famous triptych for the digital era, experimenting with new ways of redefining identity and its forms of representation, both virtual and physical.
By replacing religious vocabulary with secular and contemporary digital symbols, Gannis reconstructs the powerful iconography at the core of Bosch’s landscape in The Garden of Earthly Delights. Her stunning, pop art 2.0 digital collage explores and critiques consumerism and modern society through the three emoji-fied realms of Eden, Hell, and Earth.” The Creators Project— Oct 24 2014,
PRINT, VIDEO & 3D Works Below. For⭐️ INTERNET YAMI-ICHI⭐️ GARDEN of EMOJI DELIGHTS REMIX items pics & info HERE.
The Garden of Emoji Delights, digital C-print, 13ft x 7ft, 2014 (installation view at Kasia Kay Art Projects Gallery)
A 3D Model View of “Escape Pod” – A Collaboration by Everett Kane & Carla Gannis : Some have claimed that “Tree-Man” in the Hell panel of Bosch’s “Garden of Earthly Delights” is a self-portrait. Everett Kane & I were inspired to revisit this chimera. “Escape Pod” is a 3D printed sculpture that explores the theatrical poetries of the modern domicile.
PRESS RELEASE :
Kasia Kay Art Projects is proud to announce the opening of Carla Gannis’s third solo exhibition with the gallery, entitled: Garden of Emoji Delights.
The exhibition is an installation of a large scale triptych, which comprises digitally collaged emoji symbols and animated characters into Hieronymus Bosch’s painting The Garden of Earthly Delights, (1500-1505), along with a small 3-D printed sculpture entitled ” Escape Pod”, a collaboration between Gannis and Everett Kane that explores the theatrical poetries of the modern domicile.
In an essay accompanying The Garden of Emoji Delights titled ‘Digicalyptic Realities, or The Frolic of the Flat’, curator Sabin Bors claims that this is arguably one of the most relevant digital works in recent years. While discussing digital symbology in its relation to Bosch’s Garden of Earthly Delights, the relation between Emoji Delights and the works of other contemporary artists influenced by Bosch, or the place of Emoji Delights in the work of Carla Gannis, the author makes an interesting interpretation on the role of the digital in contemporary society and the passage from culture to civilization.
For all its technological infrastructure, the digitalization of communication is seen as a means to disseminate an increasingly analogical content that bears more emotional charge and agency. Sabin Bors argues, however, that to understand The Garden of Emoji Delights, we must understand the type of culture these images and their power belong to, the technological codifications of today’s language, and the relation between expressions and consumer culture.
Acknowledgements: Rafia Olufemi Santana, Studio Assistant
Accompanying Events: On October 31st, TRANSFER Gallery, Brooklyn, NY will present a special one-night screening event in conjunction with Gannis’s solo show at Kasia Kay Gallery. The full-scale reproduction of the original will be revealed in its digital format. The screening event will be accompanied by an Emoji Costume Ball on Halloween Night.
The Garden of Emoji Delights (study), digital pigment print, 8.5 x 21 inches, 2013