Born 1970 in Kansas City; Lives in Wilmington, Delaware
Lance Winn teaches at the University of Delaware. His personal work has been included in a range of recent books, including a collection on three-dimensional typography and another on Paul Virilio’s influence on contemporary artists. His work was represented in the article “Contemporary Developments in Drawing,” published in Contemporary Magazine. Winn’s work has been shown nationally and internationally and in 2007 was collected for a survey at the Freedman Gallery. His robotic video installations, in collaboration with Simone Jones, have been shown at Nuit Blanche in Toronto, the Ronald Feldman gallery in New York, and at the Icebox in Philadelphia. Their most recent piece “End of Empire,” was included in the 2014 Montreal Biennale.
Winn is the recipient of a 2015 Established Artist Fellowship from the Delaware Division of the Arts.
I use the construction of paintings as an attempt to recognize how my understanding of the world might be impacted by the types of images available to us today, and the ways that we receive them–particularly images that are generated outside the visual register and their reception through the screen. Looking at forms of image production made available through the digital, I try to systematically rebuild the images in hopes that the collaboration with the qualities of a material might express a new way of understanding the initial picture. This act of translation and re-construction attempts to take advantage of painting’s ability to describe retinal impressions- to speak to the surface of things (what we can and cannot know through observation) and the way we impose our mind/knowledge/history/culture onto that surface.
I hope that the paintings, which move between the private spaces of the domestic to the public spaces of surveillance, can reflect on the distancing and equalizing affect that technologically produced images can have on subjects, as well as the way that we, as people, become abstracted and analyzed. I am trying to get the paintings to hold between object and image, form and formlessness, and abstraction and representation, so that a viewer might question what the painting is giving versus what they are imposing on the object, and so one might become less certain about the meaning of pictures; or the ways that pictures create meaning; or meaning…