David Clark approaches art with the instincts of a philosopher, the sensuality of an animator, the conceptual rigor of an installation artist, and the dexterity of a manic-yet-sane compulsive-conspiratorialist. His works are sprawling labyrinths that inoculate the viewer against facile distinctions between metaphysics and eye-candy. Complexity and raw grace conjoin.
In epic iconic works such as 'A is for Apple' and '88 Constellations for Wittgenstein (to be played with the Left Hand)', interfaces become ideological abstractions which guide the viewer through conceptual passages, animation functions as play; choices operate as abstractions; and audio (which he often composes himself) amplifies idea.
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