In new prints on aluminum and single-channel videos – many of which use advertising campaigns as their underlying sources – stage blind considers notions of invisibility as reflected in content as well as with respect to the limits of the human eye and its technological extensions, including the camera, lens, software, and screen.
Nader pushes photographic software editing tools to their extremes to expose the structures and processes lying beneath the highly scripted surfaces of digital images. And, with an interest in the blending of automated systems with the human hand, the artist also incorporates personal marks such as drawings, tracings and erasures.
“I look for ways to set the actors against the image, image against image, software against image, to use software script as mark, software script to overwrite previous marks, and make automated interjections. What new can be created out of existing images and software? What happens when everything is a screen, a site for an image?” – ZN
A new series of UV prints on Dibond continues Nader’s practice of creating alternative possibilities for imagery meant to sell product or lifestyles, allowing the viewer to reconsider them once the sales pitch is absent. People, products and this time color are removed from the images, which are then rephotographed from the computer screen and stitched back together. Dust and fingerprints as well as chromatic bursts and other interference caused by the interaction between the camera and screen situate these primarily black and white interior and exterior landscapes within the electronic display where they originated. The UV printing technique and scale evoke that of advertising signage.
Additionally, three video works make their debuts:
cascade (2017, HD video, 20 minutes) a vertically oriented piece, here projected life-sized, finds a ghostly figure of a man endlessly walking in a looping scene of an indistinct commercial, while other advertisements play through his transparent body in shifting color gradients;
trace shadow (2017, HD video, 4.5 minutes), made entirely from layers of advertisements, reveals the colored outlines of silhouettes of persons and objects from unrelated narratives – which collide with and morph into each other on an otherwise white screen – as windows into hidden realms beneath the surface;
stage blind (2016, HD video, 3 minutes), the title work, featuring footage shot by the artist with his camera placed in extreme lighting conditions and later altered frame-by-frame, draws comparisons to the experience of standing under bright lights on stage, able to catch only glimpses of the wider surroundings.