bite magazine bite magazine issue 07 transcend

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  • 7/27/2019 BITE Magazine BITE Magazine Issue 07 Transcend


    B I T EU M M E R I S S0 1 3

    T R A N S C E N DT R A N S C E N D

  • 7/27/2019 BITE Magazine BITE Magazine Issue 07 Transcend


    Nadirah NazaralyEditor-in-Chief

    Daniel GrifthsFeatures Editor

    Jason JuddArt Editor

    Michael BrambilaFashion & Art Director


    Amanda CamenischAnne Combaz

    Brent ChuaConan Thai

    David UrbankeIvona Chrzastek

    Julien BernardLara Giliberto

    Leon ReindlMarco Van Rijt

    Markus RicoMarlen Keller

    Paul JungSyed Munawir


    Contributing ArtistsAdam Kremer

    Christopher MeerdoErik MowinckelHenrietta Harris

    Olve SandeSiki Im

    Contributing WriterDeak Rostochil M








  • 7/27/2019 BITE Magazine BITE Magazine Issue 07 Transcend


    Photo by Erik Mowinckel

  • 7/27/2019 BITE Magazine BITE Magazine Issue 07 Transcend


    Photo by Erik Mowinckel














    Christopher MeerdoText by Jason Judd

    Men in SkirtsPhotography by Paul Jung

    Styling by Sky OhText by Daniel Grifths

    & Nadirah Nazaraly

    On Your MarkPhotography by Lara Giliberto

    Styling by James V. Thomas

    Troubled VisionPhotography by Julien Bernard

    Styling by Megane Laroche

    Unafraid to LingerPhotography by Brent ChuaStyling by Devon Nicholas

    Adam KremerText by Daniel Grifths

    VolvorPhotography by Anne Combaz

    Styling by Olivier Pichou

    Virtual Cultural

    Photography by Amanda Camenisch& Marlen Keller

    Styling by Oriana Tundo

    Know All Your EnemiesPhotography by Marco Van Rijt

    Styling by JeanPaul Paula

    Olve SandeText by Jason Judd

    Ray of WhitesPhotography by Ivona Chrzastek

    Styling by Abbie Baines

    SheathPhotography by Leon Reindl

    Styling by Tomas C. Toth

    Oh Months Fate Foreseen

    Photography by Conan ThaiStyling by Adrian Manuel

    Twenty ThreePhotography by TYE

    Styling by Kita Updike

    Erik MowinckelText by Daniel Grifths

    Vulnerable HeightsPhotography by David Urbanke

    Styling by Rene Garza

    Grovel GrovelPhotography by Paul Jung

    Styling by Adrian Manuel

    Lined UpPhotography by Syed Munawir

    Styling by Olivier Pichou

    Ghost ColoursPhotography by Markus RicoStyling by Ignazio Arizmendi

    Julie Deply: Wise Young GirlText by Deak Rostochil










  • 7/27/2019 BITE Magazine BITE Magazine Issue 07 Transcend



    At its very core, TRANSCEND is imbued with a sense of

    freedom by overstepping boundaries or moving beyondthe shackles of tradition in pursuit of independence.

    This vision of transcendence is at the forefront of ourapproach to publishing; after all, BITEs online presenceis primarily concerned with the new mediums ofexpression available in the digital age.

    For our seventh issue, we decided to renew thisfocus on the digital as many of the artists featured areengaging with new aesthetics that are a result of this

    aforementioned culture.

    Christopher Meerdos artwork, for instance, investigatethe limits of data and the photographic image whilstOlve Sande aims to go beyond the restrictions inherentwithin both abstraction and expressive drawing.

    Among these compelling artistic practices are anumber of editorials and proles of exciting creatives,from New York to Paris.

    As always, thank you for your continued support.

  • 7/27/2019 BITE Magazine BITE Magazine Issue 07 Transcend







    Anthology: IMG13, 2013framed archival pigment print,


    C H R I S T O P H E R

    M E E R D OText by

    Jason Judd

    Artwork byChristopher Meerdo

    Abstraction, for ChristopherMeerdo, accentuates thedifference between theimmersive nature in whichwe live and the perceptivenature that photographyproduces. The nostalgicreferent in images arechallenged by Meerdo inseries likeAnthology, whereMeerdo purchases usedmemory cards from eBayto extract and print the

    lost images, or Dark Data, which includesimagestaken from remote camera les fromIcelands national trafc road conditionorganization. Meerdos work transcendsphotography, glitch, or a dry type of datavisualization working both with andagainst abstraction to nd the nature ofimages. In turn, his work becomes politicaland romantic, and reminder that themedium may be the message.

    Christopher Meerdo grew up in the UpperPeninsula of Michigan and spent time inpost-Soviet Lithuania as a teenager. Meerdoattended a three-month SIM InternationalArtist Residency in Reykjavik, Iceland, fromFebruary to April 2012 and is currentlyattending the Skowhegan School of Paintingand Sculpture in Skowhegan, Maine. Herecently received an MFA in Photographyfrom the University of Illinois at Chicago.

  • 7/27/2019 BITE Magazine BITE Magazine Issue 07 Transcend


    7 TR


    Svartsengi, Iceland, 2013framed archival pigment prints, 18x12

  • 7/27/2019 BITE Magazine BITE Magazine Issue 07 Transcend







    In your series Anthology (2007-2013)you use a data recovery program toextract old data from memory cardsthat you purchased from eBay. Theresult produces a series of fragmentedimages, which you exhibit. Since youare selecting and exhibiting a smallnumber of images from the thousandson purchased memory cards do you seeyourself as a curator?I have thought about this before; this project pushesagainst the role that an artist might typically have as adirect maker and repositions my authorship as archivist,hacker, archaeologist, curator, et al. I usually think of thisproject as something that functions as a collaborationbetween myself, the original photographers, and thetechnological apparatus which both negates andresuscitates the images.

    The original images verge on banal snapshots takenfrom an unknown person. Does the fragmenting ofthe image itself transcend the original image into

    something more or is it dependant on your process?Although the vernacular aesthetic is the rst read ofsome of the recovered images, it is secondary to mymain interest in the archive. The project is organisedin a way that considers the point of disappearance andreappearance of our collective digital record. When

    looking at the entire archive as a whole, we quicklylose the desire to hold onto individual specic moments

    as most of the images are quite ubiquitous (birthdays,holidays, etc) and the focus shifts to the moments ofrupture within the frame.

    Is the work in Anthologyconceptually grounded inabstraction or suggested narrative and how do you seethe work differing from glitch art / data visualization?There are elements of all of those things present soI would be interested in reading it through any ofthose lenses. Most productive for me is consideringthe project within a trajectory of photographic theorywhich considers the intrinsic abstracting condition

    of all photographs. Photography inherently abstractsour world from binocular to monocular vision, fromthree dimensions to two, from linear and continuoustime to frozen moments. Abstraction is one of themost important elements in all images in my opinion,although it is often overlooked in our everyday usage

    of the medium.

    The images in the series Dark Data(2013) are taken from remote camerales from Icelands national trafcroad condition organization, resultingin dark and low quality images. The

    color pixilation presents itself as formalabstraction while offering hints of the

    Anthology:MG_0693, 2013framed archival pigment print, 16x22

    Anthology: IMG125, 2013framed archival pigment print, 15x12.5

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    9 TR


    Dark Data: Svnadalur norur, 2013colorwave print, 24x16

    Icelandic landscape. Considering Dark Data andAnthology, what are your thoughts on the correlation

    between chance and beauty in photography and is thisa concern in your practice?For this project I was specically interested in therelationship between tourist-based economies which is a growing sector in Iceland that producea particular kind of landscape vernacular comparedto the utilitarianism of photographs created by thenational Icelandic road commissions webcam array.While spending time in Iceland I was concerned withfalling victim to the same trappings of transformingthe landscape into something sacred or metaphysical,and spent time thinking about the history ofprojecting manifest destiny onto foreign landscapes.

    After considering some of the Icelandic literature Iwas reading, I began to realize that along with anoverwhelming sense of natural beauty, the landscapehas been historically embued with terror, harshness,and starvation for Icelanders. I wanted to investigatea landscape that was authored inway that was a negation of these(perhaps) Occidental modes oflooking. The webcam archive is sortof an inadvertent auto-ethnographiclandscape portrait.

    Does the contemporary photographer

    need to be behind the camera?Im not really sure I consider myself

    a photographer. I think of photographyas a very expansive medium and theedges what denes it are getting blurrierall the time. There exists a rich historyof camera-less photographi