Claude Zervas explores the artistic potential of the nature of his creative tools: computer, scanner, and fluorescent tubing. In his digital prints and sculptural light peices he employs certain elements of technology that are ignored or unseen (the way light is translated by a scanner, and the means through which LCD screens are illuminated), Zervas articulates an aesthetic centered around the viscera of technology.

The artist seeks to demonstrate technology’s complicity in abstracting reality. The prints—abstract vertical bands of color—are horizon lines, the product of flatbed scans of different kinds of light including flashlights and lit matches. The sculptures are constructed out of the thin fluorescent lights used in flatbed scanners. Tubes are mounted to the wall end-to-end creating an abstract geometric landscape.

The pieces build off of previous work that focused on the way the computer could translate and distort reality. Zervas strives to strip away technology’s veneer of representation and manipulative power. With the inability of the scanner to render light and the ungainly meandering of luminescent tubing, the limitations of machines are exposed and its human origins are made poignantly evident.