![“If [my work] challenges the idea of what a painting will be, then I consider it a success” - Avery...](https://artlogic-res.cloudinary.com/w_620,h_620,c_limit,f_auto,fl_lossy,q_auto/ws-kraupatuskanyzeidler/usr/images/feature_panels/image/items/35/359f8de2d27249fcbd30982d155468cb/overlay-of-print-painting.png)
Avery Singer, overlay of print for Robespierre (assassination), 2020
“If [my work] challenges the idea of what a painting will be,
then I consider it a success” - Avery Singer in an interview with Melanie Gerlis, February 7, 2020.
Avery Singer employs virtual fictional characters and symbols taken from art history or the current art world, to turn the expected on its head. Often reimagining the subject of painting and image-making as the subject itself, by disengaging with romanticized views, Singer creates her own way of seeing.
Avery Singer’s practice fuses the traditional discipline of painting with the mechanics and industrial capacities of three-dimensional computer modeling and digital applications. Her work starts in a digital format, using architectural, automation, and modeling software. For Robespierre (assassination) Singer worked with an animation specialist to create the backdrop. The artist then airbrushes layer upon layer of images using a computer-controlled printer that was designed to transfer logos on to trucks and airplanes.
Singer mixes references to an older pictorial tradition with cutting- edge digital tools, thereby questioning the constantly growing presence of technology in our everyday existence.
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