Parasitic Capacitance, 2019

If you look at the back of an OLED screen, what's on the other side, our existence?  As we find ourselves increasingly feeling more alone than ever before, could technology perhaps be an assault on our empathy on a global scale? Parasitic Capacitance is an exploration of the expansive tools that create the performative experience of our everyday screen-based lives where we can begin to consider technology as not in conflict with nature but possibly an extension of the human realm and how we define authentic connection in these times. 

Using painting, sculpture, video and virtual reality, Davidson has established himself as a true interdisciplinary artist.  Assembling works from both the physical and digital world, Davidson has sequentially created a lineage of works that navigate beyond a singular dimension, capturing an extension of both the physical and nonphysical world we live in today. 

Through technology, Davidson has built a platform, which captures a macro-observation of life driven by digital media.  Amongst the regular inundation of images, information, media and news, he plays with this duality of worlds by creating the architecture of connecting the physical with the non-physical or technological.  Behind pieces such as 4K, 2018, a hyper-realist painting of a roll of US 100-dollar bills, Davidson directly bridges painting, the human hand, and the transfer of a fixed image to another medium.  By doing so, this process parallels the augmentation of our current reality, unlocking the ability to live within a multidimensional world.

 In this world, digital renderings become physical paintings and natural elements such as stones become a reminder that inanimate objects also carry frequencies and vibrational tones as do we. Bobby Davidson presents us with a variety of realities with his collection of constructed experiences; both applied and digital, often mixing the two, therefore, offering the viewer their own experience while weaving in subtle nods to artists such as Ellsworth Kelly and Fredric Church and the Hudson River Landscape.