2003 IDAA juror profiles
Steve Danzig IDAA Executive Chair

Artist... Genuis.... loves a good game of squash! :)

by Laurence GARTEL

In the frenetic times we are living in, information overload, 24 hour news, stock and weather, our personal "BRAIN RAM" is about to tip over to RED ALERT!! - NOT ENOUGH MEMORY.

What we must decipher here, is "what is" and "what isn't" worthy of placing into our heads for future consultation. As the mind is the most stimulating part of our body, it makes pure sense that everyone in the universe is trying to "tickle" our neurons for attention.Like the Astronauts of Apollo, everyone wants to Land on the Moon, and self proclaim themselves the first to discover what has been there for billions of year. After all, that is what a discovery is anyway: Finding something that already exists!!!!

What the IDAA and Director Steve Danzig has done is call out to the artists of the planet to provide them with a venue to display and make known what they have personally discovered with the tools of technology. Each in their own formulated methodologies, the works by digital artists of the world come together. Mr. Danzig is not claiming to be the first, he is deliberately organizing a platform in which to showcase the art created at the turn of this new millennium.

These works then, are the foundation of "new art in old history." - Like the wheel they turn.

Laurence's images

Wayne J Cosshall is currently Editor of Digital Photography & Design magazine and Technical Editor of Commercial Photography magazine as well as doing freelance writing and running a small professional photography/graphic design business. He also actively works at his own photography and computer graphic art.

Previously Wayne was an academic for 17 years at Swinburne University, ending as a Senior Lecturer in Computer Science and Head of the Computer Graphics Research Group. Wayne's research included parallel computation in computer graphics 3D rendering, algorithmic digital art and the algorithmic definition of pattern. Overlapping with the academic work and since leaving it Wayne has written for essentially all significant Australian photography and computer graphics magazines and a number of US ones. Wayne has been working in computer graphics, both as an art form and science, since 1980.

Since 1991 Wayne has been exhibiting his photography and computer art in various group and individual shows, including invited submissions. Wayne's art work at present encompasses an exploration of the mix of 3D and photographic imagery. Present work is mainly in three series: "The Death of Christianity", "Playgrounds and Gas Chambers" and "Esoterica".

Wayne's website

John Antoine Labadie is currently an Assistant Professor of Art and Director of the Media Integration project at the University of North Carolina at Pembroke where he teaches art history, design and computer graphics. In 1994 John organized the first Computer Graphics program at UNCP.

Trained in traditional studio as a painter, John studied weaving and metals in graduate school and in 1994 obtained a doctorate from the University of Cincinnati in Visual Arts Education. He has worked professionally as an editor, writer, photographer, graphic artist and educator. This semester marks his 22nd year in teaching.

Dr. Labadie now specializes in digital graphics, including digital combined with other media. His art work has been shown in dozens of juried national and international exhibitions. Since 1989, John has also worked as a scientific illustrator for the National Park Service in the United States and abroad on archaeological sites in both Mexico and Belize with major university field projects.  

Tom R. Chambers brings thirty years of documentary and visual arts experience to the Web with extensive curatorial work, over forty personal, real-world (United States, England, Australia, Russia, Zimbabwe, South Korea, Philippines and Brazil) and several virtual-world exhibitions.
He is currently pursuing digital manipulation and generation as an art form, and working in the shadows of the Pioneers of Abstraction utilizing Pixelscapes which begin to approach a true abstract visual language in Digital Art under the namesake of New Directions. These Pioneers practiced Art as a metaphysical quest for higher truth, and these Pixelscapes possibly move in a similar quest or direction as it relates to placement, juxtaposition and color-field excitation. In favor of felt experience, they begin to transcend the Digital Art genre by making use of themselves and within, or in other words, this quest for higher truth is Minimalist in its approach, and because of the magnification, a revelation of sorts exists through seen pixels. A solo exhibition ... Pixelscapes: Next Generation ... was held at the LeVall Gallery in Novosibirsk, Russia (installation seen to the right; Russian television coverage seen in foreground; photo by Andrey Martynov, Curator)

Vicki McConville - embraced new technology in 1979 for use in her own prints and graduated from art college with a major in Printmaking in 1981. Her final year thesis "Contemporary Australian Printmaking - some aspects considered", was one of the first written works about Printmaking to include ephemeral political posters, photo Xerox copies and 'digital' prints. She also lobbied for them to be accepted as "fine art prints", worthy of commission and collection, in her capacity as exhibitions committee member and secretary for the Print Council of Australia, 1982.

Passionately involved in the contemporary printmaking as well as the political poster movements of the 1980's she worked as both a poster designer and printer and was a trainee assistant to the Prints and Drawings collections of the National Gallery of Victoria, Australia.

Exhibiting professionally since 1980, Vicki has exhibited in Australia, UK, France and Italy. Her work is in public and private collections throughout Australia, USA, UK, Europe.

Vicki has recently toured her solo exhibition "The Private Eye" in the UK to London and Bristol . Using her own cultural ancestry (Swiss Italian, Ticino, and Irish Celtic) as a backdrop, The Private Eye uses the latest in digital print technology as well as traditional image making to tell the stories of Australia's cultural history at the time of "early white settlement" of the 1850's.

Currently Artistic Director of her own studio gallery and residency complex 'Artsville', Vicki divides her time between "Artsville in the Bush" and "Artsville by the Bay" in Melbourne.

In the UK at the opening of the Heads Up festival, London, it was noted McConville's mind bending images tell us the stories of Australia's cultural migration in a new language. These works provide us with a contemporary insight into the processes and impact of cultural "assimilations" of the past. So,like those who trod before her, she helps us to "Go Over Old Ground".

Vicki's images


Jim Sellars has been the Director of Studio 211 for the past 9 years.
During this time he has been curator to 13 exhibitions and organized 48 exhibitions internationally. Since taking Studio 211 on the world wide web two and a half years ago, Mr. Sellars has worked with thousands of artists documenting the "information age" as it pertains to the arts. He is also an artist with over 20 years of experience and has been exhibiting his work since the age of eight. He works in many mediums such as painting, drawing, sculpture, installation and digital. His work currently resides in collections in 19 countries and exhibits around the world (with 68 exhibitions to date) and through his web site.

Jimmy's website

Michel Szczepanski Michel Szczepanski completed his Bachelor of Art, Fine Arts (specialising in Printmaking and Photography) at the Prahran College of Advanced Education in 1978.

Prior to joining the Printmaking Department in 1979 as a Technician, he worked as a freelance photographer. He has works exhibited both in Australia, Europe and USA. His photography has also been included in numerous exhibition catalogues of Australian artists.

As a Master Printmaker, he has accepted commissions and also assisted various artists locally and internationally.

In June 2000, he transferred from the Printmaking Department to the Information Technology Officer role at the School of Art. Through this I.T. position, digital printmaking technology has been introduced to the School of Art. Further research in this technology is continuing.