Edward Alonzo |
Acrylic on Wood, 5“ x 14.5”, 2009.
Two steganographic codes, one ultilising a sculptural and one a
painterly ciphertext, create a three way harmony with the encrypted
data. Expressing code not solely as something visual, but also
something tactile.
Edward Alonzo, Artist, University of Vermont
Burlington, Vermont
"My current avenue of investigation is Steganography and the place of
Cryptography in our society. Encryption has become incredibly
powerful and equally incredibly common place.
The hidden nature of steganography is because either the cryptographer
decides to do it, or in the more common case of "https" because the
user is ignorant of it's existence. The ignorance in the second case
is due to the overwhelming complexity of computers and computations
done by them. Which is akin to the overwhelming complexity of art and
decisions made by artists. Both Computers and Art are incredibly
common in our culture and yet both are incredibly overwhelming to many
of the people who see them daily. Thus, stenographic painting seems the
aesthetic equivalent to 'https'.
To that extent, the focus has been on devising encoding systems that
utilize color and orientation, and then finessing them to make them sing together."