Funny enough, with all the the advances made with modern technology, the best way to preserve is not through digital practices but through traditional analogue methods.

Older models of the iPhone, with the first iteration released in 2007, are continuously becoming increasingly obsolete with each passing software update.

Apple's upcoming iOS 11 mobile operating system will not be available for the iPhone 5 and 5C or the iPad 4 when it is released.

This means those with the older devices will no longer receive software or security updates, thus rendering them useless.


Advances in technology means that our favorite everyday products will not always stay relevant and are easily replaced, rebranded, and repackaged.

Shifting to Australia, four women who styled themselves VNS Matrix posted a “Cyberfeminist Manifesto for the 21st Century,” followed by a vagina-framed poster in which they joyously proclaimed themselves “saboteurs of big daddy mainframe.”

In Moscow, a young woman named Olia Lialina created “My Boyfriend Came Back From the War,” a forking narrative, poignant and oblique, that combined text with grainy black-and-white imagery.

An anonymous woman in Amsterdam, eventually identified as Martine Neddam, built a brightly colored site that purported to be the home page of a 13-year-old named Mouchette, after the girl in the 1967 Robert Bresson film who finds a life of torment and abuse too much to bear.


In the early days of the web, art was frequently a cause and the internet was an alternate universe in which to pursue it. But two decades later, preserving this work has become a mission.

As web browsers and computer operating systems stopped supporting the software tools they were built with, many works have fallen victim to digital obsolescence.

When it comes to preserving the present through artistic practices then it is clear the fragility of digital media is not the way forward.

Paintings in museums that are hundreds of years old have fared a lot better than modern counterparts that are made by manipulating electrons.

This is why I have chosen to focus and continue the practice of creating oil paintings in my aim for the “preserved present.”


Countdown To Phallus Decay (2016), by James Jarvis

'Countdown To Phallus Decay ' (oil on canvas) was created in response to Fidel Castro's death and forms the basis for a new series that explores the return of egotistical leaders with the rise of Donald Trump and Kim Jong-un. This PAINTING transfers contrasting elements of internet aesthetics found on the INTERNET to canvas.

Countdown To Phallus Decay’ (2016) is the first Pixelrealism artwork to study this approach.

As we know each digital picture is made of pixels – a minute area of illumination on a display screen – and the more pixels there are the higher the resolution an image.

This degree of variation is represented in this painting with ballistic missiles featuring heavy pixilation around the lines and edges with a layering of painted squares.

This is juxtaposed with an extremely high-res painting of John F. Kennedy in his wrestling leotard days.

Finally, for added detail there are seemingly random yet very controlled application of lines and specs on the canvas surface.

These “digital blemishes” are a result of a process when creating the composition that involves cutting the subject (foreground) from the background.

Essentially what I am doing is transferring the digital to the analogue. Transferring the pixel to the canvas.

This practice represents a reality that is continuously adapting the internet to real-world objects that intersect our everyday lives.

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