Mashups might have a "serene" quality to them. Ward nicknamed the above arrangement "Watermoon".
Switching some of the previous arrangement's panels led to another "peaceful" arrangement (nicknamed "Waterweave").
Moving around panels some more and adding from another Series led to this --seeming to evoke "life-origin" or some such.
Is this an "outbreak"? Or perhaps just a nonrepresentational abstract.
Series 459 in a vertical mashup with Series 453.
Another arrangement of Series 459 in a vertical mashup with Series 453.
Ward pondered the post-tsunami Fukushima Daiichi nuclear disaster
A larger Ward mashup again evoking Fukushima
Some panels from the above
Another view of the above mashup (with a cube-element of the George Rickey sculpture now visible in the window outside
The same mashup, shown sans-walls.
Mashups visible above the escalator railing during Ward's solo show at the New York Mercantile Exchange in the World Trade Center/World Financial Center Complex
A closer view of the above arrangement (a mashup of Ward's Series 260 with Series 200. (Ward's art on the background wall shows the Omnidirectional capability: the white panels are hung horizontally, the blue ones are vertical with one panel intentionally inverted.)
Some panels from the arrangement above in a different mashup at a different gallery.
Some panels from the background wall of the New York Mercantile Exchange show now hung at angles in a whole-wall mashup with other Series panels. (Ward art is purposefully Omnidirectional; hanging at angles is possible.)
Ward art can be turned toward historical or political ends. Ward nicknamed this mashup "Viet-flashbacks", of course evoking Vietnam war soldiers' PTSD. It includes panels from Ward's War Stories, Swirlwhirl Loops, Composition with Rabbits, and others.
Ward pondered the Nazi Einsatzgruppen
This mashup installed in a gallery evokes the Iraq occupation fiasco. The arrangement included panels from Ward's Flag and Stop Loss.
Here, a proposed monumental (roughly 35-40 foot by 7 foot) mashup Ward designed evokes the Iraq war. Nicknamed "Iraq thinking back," the arrangement includes panels from Ward's Infosomes, a gunfire piece, plus Flag, Souls' Tolls, and the remaining panels of Stop Loss (note: two of the original eight Stop Loss panels are no longer available, having gone on permanent display in Jimmy Carter's staff conference room at the Carter Center).
While all of the above mashups were designed by Ward, the artist also embraces the relational aesthetics
Being "officially" open to the idea of visitors rearranging the art-panels and of thus also perhaps changing the meanings is unusual. It could be called lazy, but Ward disagrees: "I just recognize that the 'meaning' of any art already exists only inside the viewer/s mind; I might envision a certain piece, but even as I make it, the finished art will differ in some ways from my first intent
Due to the large size, this GIF might skip a few frames on the first loop. If it seems to make little sense, please sit through another loop. Each loop is around 90 sec.
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Wart art here.
Unusual art processes.
Studio Visit video page.
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