Menu
The New Contemporary Art Magazine

Shamus Clisset’s All-Digital, Surreal Figures

Shamus Clisset, who works under the moniker Fake Shamus, crafts all-digital works that only appear to be sourced from photographs. Taking inspiration from pop culture, historical objects, and other Western elements, he creates figures and scenes with unclear origins. His practice touches modeling, rendering, and animation.

Shamus Clisset, who works under the moniker Fake Shamus, crafts all-digital works that only appear to be sourced from photographs. Taking inspiration from pop culture, historical objects, and other Western elements, he creates figures and scenes with unclear origins. His practice touches modeling, rendering, and animation.


“Clisset’s (works) are made purely through digital means,” a recent statement says. “His guise of Fake Shamus is the god of his invented world, one inhabited by hyper-real, glistening figures and environments. Moulton’s alter ego is Cynthia, a neurotic hypochondriac searching for healing through kitschy consumer products.”

See more of these recent works below.

Meta
Share
Facebook
Reddit
Pinterest
Email
Related Articles
James Jean’s fantastical acrylic paintings and digital works are absorbing, even if viewers aren’t offered a specific storyline for each work. In his latest works, the artist packs even more abstraction, hues, and icons into these tales. Often, his paintings offer surreal interplay between humans and the animal world. Jean was last featured on HiFructose.com here.
Artist Mike Campau combines photography and digital techniques for his “Antisocial” series, a project that takes a pointed look at digital platforms we use to communicate. For much of the work, there’s a cynical beauty in the details, with letter boards reflecting our frivolous behavior and dependency on social media. In a statement, he offers some insight into the series:
Eric Petersen is a methodical, calculated artist. He opts to work digitally to remove any personalized evidence of the human touch. He chooses the colors of his works like a scientist dropping carefully-measured chemicals into a vile: The intended effect of these contrasting, bright shades, says Petersen, is one of unsettlement. He sets up compositions that are at once harmonious and jarring. Geometric shapes appear to slice through his planes with razor sharp precision of placement. Yet their rhythmic arrangements give his work a sense of harmony, even while the electric blue, neon yellow and sunset orange hues simultaneously vie for viewers' attention.
In Tokyo's Odaiba district, the world's biggest museum dedicated to interactive digital art is now open. The Digital Art Museum opened by Mori Building and teamLab has 107,000 square feet, with simulations created by 470 projectors and 520 computers.

Subscribe to the Hi-Fructose Mailing List