Sylvia Hardy

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Artist Statement


Originally from Missouri, I take frequent trips to the lesser known places of the United States such as Tallgrass National Prairie in Kansas. These environments that I am immersed in directly shape my view of space, color and materials – things often emerge directly from the source. When I arrived at the Tallgrass Prairie I wasn’t sure if I was there. It was kind of disjointed more like a run down parking lot up against a wild lawn. It wasn’t until going in and accepting it as the prairie that it unfolded in undulations and layers upon layers of fine grasses, micro flowers, birds and insects willing to bite with plenty of air between each mesh.

Now I see a parallel between the Tallgrass Prairie and that of a computer’s digital imagery. They both seem flat and disconnected at first but once I realized that the computer is just made from gold and other metals/rare earth metals it unfolded into the land and materials I can hold physically. Using stucco, the blue color of an unhinged world, gold bars melted down from discarded computer parts, and imagery from screenshots, iPhone photos, and moiré infused photographs of Photoshop’s onscreen canvas, I attempt to reconstruct this conflated physical ecology. In my practice I’m inside the earth trying to find the metallic reality, which feeds into metal, metaphysics and digital devices.*

Born From a Golden Spoon is a body of work about the regeneration of resources. The gold I use in the sculptures was bought on eBay from sources in Israel, Miami, and Mississippi. It has been melted down from computer transmitter parts like CPUs. I wonder what information has passed through this conductive metal and what is retained there from that sundry equipment. The seemingly immaterial is wafting right inside the material. In the works you can see the gold bars just rest there alone (slide 1) or are weighing down the mesh images (slide 6). Maybe to be moved again in the future or perhaps to be pocketed by someone else. Regardless I am positive there is a different use for it in the future. This gold may easily have been used many times already in the past as it has been melted and shaped with trends and cultural needs.

The digital imagery just kind of surfaces and accumulates and sometimes repeats. They are a conflation of recorded experiences and created collages from wandering walks online to copying and pasting low res art out of a Kazakhstan Airbnb photo (slide 2), to a visual response upon hearing about another ISIS jihadist’s online communication with a European teenager. Other images are of plant species taken directly in nature or iPhone photos of consumer goods I wanted to buy but didn’t really need. I consider the space between my body and my computer screen as a space to be documented like any other space such as the street or landscape. It is in this space that I am also reminded of a new proverb, “Every 20 minutes you should look away from your computer for 15 seconds to rest your eyes” as it is conducive to better health. I am interested in what happens during that period of focusing awareness. Not only in the eyes but also in the mind.

*Jussi Parikka, The Anthrobscene. (Univ of Minnesota Press, 2014).



Born 1985 Missouri
Lives and works in New York


2012 MFA, Parsons The New School
2007 BFA and Anthropology Major, Washington University in St. Louis


Light-Soluble Mediums, Curated by Ada Smailbegović, The Picture Show, Brooklyn, NY

2014, a LIVE stream exhibition from Tokyo, Japan, Curated by Kiyoto Koseki and Yu Araki
8 Ball Zine Booth, NY Art Book Fair MOMA PS1, NY, NY
Photo Requests from Solitary, NY, NY,

Each Evening We See The Sunset, Curated by Micola Brambilla and Alessandro Teoldi, Spazio Morris, Milan, Italy, The West in South Harbor (Westen I Sydhavnen), Sydhavn Station, Copenhagen, Denmark,
Page 179, Artforum, September 2013, Brennan & Griffin, New York, NY
The View from Nowhere, Conveyor Arts, Photoville, Brooklyn, NY
Gutai Card Box, contributing participant, Solomon R. Guggenheim, New York, NY

Hit It, Scrapped Magazine Launch, Red Roots Gallery, New York, NY
Twenty-One Cousins, Parsons MFA Thesis Exhibition, Aronson Gallery, New York, NY
Chi Le Ma?, Frontrunner Gallery, New York, NY
Charterparty, Curated by Jim Ramer, Photoville, Brooklyn, NY
Millenium Magazines, Organized by Rachael Morrison and David Senior, MOMA Library, New York, NY
Parts and Labor, Tyler School of Art, Philadelphia, PA

Ping Yao International Photography Festival, Ping Yao, China
The Culture of NOW, Aperture Foundation, New York, NY
29th Annual Juried Membership Exhibition, Houston Center for Photograhy, Houston, TX
Almost Down, Curated by Kiyoto Koseki and Yu Araki, Gallery Tayuta, Tokyo, Japan
Undressing the World, 25CPW, New York, NY
The First Forty Years, Obelisk, Springfield, MO
Emerging Artist Auction, Daniel Cooney Fine Art, New York, NY

Unusual Happiness, Conveyor Arts, Hoboken, NJ


2013 Travel Grant, Danish Arts Council
2012 Departmental Scholarship, Parsons Photography Department, Portfolio
2011 Departmental Scholarship, Parsons Photography Department, Portfolio
2007 Hoopes Research Fellowship Grant, Washington University in St. Louis


Public Program, The Experiment Was This, Triple Canopy, Brooklyn, NY
Panel Discussion, Westen I Sydhavnen, Sydhavn Station, Copenhagen, Denmark
Artist Talk, Time, Earth Art, Parsons The New School for Design, New York, NY

Artist Talk, Lay of the Land, Parsons The New School for Design, New York, NY

Artist Talk, Art Department, Stony Brook University, Stony Brook, New York


Triple Canopy, Of the Dense and Rare,

Scrapped Magazine, Hit It, Vol. 1., New York, NY
Routledge Taylor & Francis Group, Reframing Photography: Theory and Practice, Online Resource

Conveyor Magazine, No. 1, Curiosities, Jersey City, NJ

Ground Magazine #10, SITE=SIGHT, Breda, Netherlands

Washington University Research Journal, Between Domestication and Wildness: The American Bison, St. Louis, MO
Focus Anthro, Online Journal, Kenyon College, OH


“Katie Paterson: White Light in Dark Matter,” Field Notes, Conveyor, No. 4
“Florian Maier-Aichen: Imperfection Shatters the Mirror,” Field Notes, Conveyor, No. 3

“Adam Ryder, Areth: An Architectural Atlas,” Field Notes, Conveyor, No. 2
“Alexandra Lethbridge: Ley Lines,” in conversation with Dr. Michael Frachetti, Conveyor Magazine Blog


Driveway, an exhibition organized by Alessandro Teoldi, Alina Enggist and Sylvia Hardy, Brooklyn, NY

Low Res: Photography and Its’ Expanded Forms, A panel discussion, The New School, New York, NY
Participants included Jeanine Oleson, Amin Husain & Nitasha Dhillon, and Hannah Whitaker
Co-Organized with Chelsey Morell and Leif Huron
Chi Le Ma?, Exhibition and Slideshow Potluck, Frontrunner Gallery, New York, NY
Curated with Charlie Rubin for an exhibition of work made in Ping Yao, China
Parts and Labor, Tyler School of Art, Philadelphia, PA
{Sub}Contracted, artist presentations by Julia Staples, Sharon Koelblinger and Amy Harbilas
(Head Organizer of collaborative exhibition and artist presentations between Tyler School of Art and Parsons Photography Department)

SITE=SIGHT, a collaborative workshop between Kunstacademie St. Joost and Parsons The New School, 13th Street Gallery, New York, NY


Instructor, Art and Design History & Theory, The New School, New York, NY