Photography usually seems to come from one of two directions. There’s conceptually-inspired work, in which an artist proceeds from an idea to an exact, material form. And there’s the reverse, where an artist begins with something physical, and organizes its presentation around an idea. Adam Ferriss’ work moves in both of these directions and, in some cases, collapses them into each other, creating art that melds its conceptual and physical “stuff.”
Though his trichrome color-separation and black and white environmental works are stunning, Ferriss’ most compelling pieces are his pixel array images. Using algorithmic shifting and a slew of other digital effects, Ferriss augments the appearance of astrophysical data to create a kind of radically-natural-yet-digital hybrid. More than any other scientific art I’ve encountered, it suggests an entanglement of the human, computational side of digital art and a literal universe of phenomena which inspires and exceeds it.