Artist Statement

     Boeschenstein’s work operates within the murky and illusory worlds of brain fog and dreaming, two similar phenomena which try to make sense of a disorientating, unyielding assault of disparate imagery, encounters and confusion of senses and experiences. Amidst the increasingly blurring lines of digital and physical, tangible and intangible, online and offline, what lies in our minds once the dust, or the pixels, have settled? Can we carve out more than a murky bed of vignettes, textures and noise? Boeschenstein encapsulates and traverses these coinciding realms of illusion and overstimulation in the context of contemporary media flow, hyper intrusive consumer culture and postmodern nihilism. In operating through these fluid, arrhythmic bounds, he projects a multi sensory experience that speaks to the noise and attention deficit of a compressed, sedated and sensationalized realm. In doing so, he forces viewers to confront it either all at once, or plunge into its vacuous nothingness, with the goal of more closely confronting the multiple cognitive dissonances we are located in at this very moment in time.

 

     Central to Boeschenstein’s process is this notion of accumulation and consumption emblematic of a contemporary landscape built on constant consumption, production and content. As both artist and human, he is constantly hoarding visual and sonic material. Observing and traversing the everyday digital and physical realm, he builds up a catalog of found and appropriated media for the purpose of rendering into digital content to be combined, assimilated and distorted. These are the main ingredients with which his disoriented sludge is created. He then uses whatever instruments are available, ranging from everyday inkjet scanners and acrylic display cases to complicated data bending software, in order to mix, distort and destroy these forms. With these ingredients deeply transformed and his canvas fully prepped, he can form layers and loops of new generations which further remove them from their original context. All of these techniques are rooted in his work as a music producer and an avid consumer of hip hop, a genre that is constantly expanding, reappropriating and redefining itself on the backs of older forms. They also reflect a glitch ethos, one that seeks to manipulate the technology outside of its intended purposes and straddle the line between intentionality, experimentation and technological capabilities. Artists and filmmakers such as Gretchen Bender, Adam Curtis and David Lynch are central influences in how quotidian cultural relics can drastically shift in meaning and reveal hidden institutional truths when accompanied outside of their intended setting.

 

     Overall, these processes work together with the goal of being rearranged and reapplied back into a physical setting, providing tangible, oftentimes immersive experiences that replicate these themes and forms of a now commonplace hyperstimulation with a sense of immediacy and amplification.