Artist Statement

Aaron Marx  is an artist and designer specialized in new media (video, projection, and digital fabrication), interactive installation, and socially engaged art. Through various media, his work examines the relationship between memory and the built environment, considers the role of temporal art in public space, and investigates new forms of interaction between people and digital tools. These works range from data visualization mapping the death toll of war, to interactive light installations tracking objects in space, the exploration of sacred space, and even inspiring the community to dream through participatory activity and public practice.

His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually construct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By applying abstraction, he focuses on the idea of ‘public space’ and more specifically on spaces where anything can happen at any given moment; the non-private space and that which is distressed and economically uninteresting. In a search for new methods to ‘read the city’, his works reference post-colonial theory as well as the avant-garde as a form of resistance against the logic of the capitalist market system. By contesting the division between the realm of memory and the realm of experience, Marx creates intense personal moments through rules and omissions, acceptance and refusal, and deconstructions to the extent that meaning is shifted and interpretation becomes multifaceted. Collectively, his altered and own artworks are being confronted as aesthetically resilient, thematically interrelated material bound together with memory and perception.

In public space these works are devices used as a form of civic engagement and tool to explore world issues. For example, light, digital tools and mobile energy devices were used to spur conversations about personal responsibility in Mobile Hot Spot. Or in Mass Information and the Temporal Graffiti of War, internet scraping, digital fabrication, and mobile broadcast units were used to create a critical dialogue about war and government surveillance in America.