Catalog entry from The Tate: ”… Verlon has given a detailed account of his preoccupations, influences and techniques in an article entitled ‘Montage-Painting’ published in Leonardo in 1968, pp.383–92. His art, he says, is an attempt to express his concern with man’s fate which is at present fraught with great uncertainty. ‘We live between promises of tremendous material development on the one hand and threats of total extinction on the other…My intention is not only to bring out the quintessence of the polarity of the problems of modern reality: construction - destruction, security - fear, civilisation-barbarity, man-machine, movement-blockage, etc; but also to probe the fundamental interplay beneath the conflicting forces of technology, profit, fear, violence and man’s hope for a better world.’
In order to communicate these ideas to the widest possible public, he has tried to make full use of modern media and the discoveries that have been made in art and technology, and this has led him since 1958 to make extensive use of the technique of montage with its varied possibilities. ‘My own appreciation of the conflicts of our times instilled in me as an artist an inclination to take portions of our visual reality and reassemble them anew … One of the reasons I was attracted to the montage technique was, that I found oil painting tends to stress continuity over discontinuity. It tends to force the artist towards harmonization. For this reason it ignores the heterogeneous aspects of reality, the confrontation of formal contradictions in life and the shock effect of unexpected juxtapositions an artist can make. It was not until I broke with the idea of a surface uniformly covered with paint that it became possible for me to show the dialectically changing nature of reality. There is no doubt in my mind that the technique of montage has played a decisive role in bringing conflict into the sphere of art.’
Ryan Holladay: To hear this music you have to be there. Literally
From Ted: ”TED Fellow, Ryan Holladay works with his brother as musicians and music producer, particularly focusing on projects where art and technology intersect. They’ve produced many site-specific audio-visual installations, engineered interactive concerts — and most recently have become interested in creating location-aware music.
To date, they have composed pieces activated by the National Mall in Washington DC, Central Park in New York City and they’re currently working on a piece inspired by Route One in California.
Ryan is also an artist-in-residence at Stanford University’s Experimental Media Art Lab and the new media curator at the Artisphere in Arlington, Va.”