2023
“Memento Mori Glitch (reh.)” employs multiple online/internet/web tools, prioritizing accessibility in creation and presentation. Internet art retains a wildness—peripheral, marginal, and existing on the (cringe)fringes of “culture”. Some of the things I make are internet art. On the internet I am an artist. Sometimes I think of the Internet as a word with a capital letter because it is a specific location, like a nation, somewhere I am from. As a digital native, I grasp the ephemerality of internet art — it is provisional, subject to deletion or obsolescence as tech evolves. In a moment, creation vanishes, like ecologies and species… It reflects a fragmentation and glitch in ecology, species are endangered, mediums/media can become endangered, may go extinct, irrelevant, no longer supported. “Memento Mori Glitch (reh.)” is like a frolic in a glitch meadow — a fragmented realm mirroring scattered attention and endangerment of species and media forms. Simple code (HTML/CSS) ensures stability, evading digital demise. As with many things barely existing in the very physical infrastructures of the internet. The vibrant page (singular, not a site, but composed of multiple elements) is playful, bright, celebratory, embracing vaporwave, seapunk, millennial aesthetics. Its colors evoke hope, “Memento Mori Glitch (reh.)” captures hypercolor’s hyper-hopeful essence, reflecting optimism in crises, embracing the glitch.
Noah Travis Phillips
United States
Noah Travis Phillips is an artist, educator, and scholar; MFA, University of Denver, Emergent Digital Practices. They create multicentered artworks about a mythic anthropocene and posthuman world by activating appropriation and digital/analog remix and collage strategies. Phillips is Assistant Professor & FabLab Coordinator at Rocky Mountain College of Art + Design, they exhibit extensively locally, nationally, internationally, and virtually. They live and work in the Colorado Front Range.