top of page

Shared View

Gabrielle Mertz

@carelsari here with the latest addition to Shared View in my home. I paired Gabrielle Mertz's digital work (@gabriellemertz) with a hand-stitched image of a bird I was gifted years ago. Digital and analogue embroidery meet in my kitchen for a chat.

Gabrielle Mertz

Artificial Intelligence


Digital data from The Verge, Vox Media, electrical material, hijacked device

Looped image file, dimensions variable


This work pulls data from news stories about advancements in artificial intelligence that are both solving and creating new problems. This is part of an ongoing series that pulls data from breaking news and media sources in order to strain and translate the information into essential color, light, and form. The process of distilling the data includes hijacking a series of applications and devices to guide and force the data to reconstitute. The works are designed to be viewed on a device and exist within the digital space.

Gabrielle image.jpg

Hello! @shaoulstudio here, posting about @gabriellemertz ‘s work “Palmyra,” which I’ve chosen to situate between an ink drawing of my own and a vintage painting of a horse. I loved the challenge of incorporating a digital work on a laptop into my home gallery. I liked “Palmyra” best in proximity to these two non-digital works. While they don’t overlap conceptually, the incongruity is what works for me.


“Palmyra” uses data and satellite imagery of the destruction of monuments and cultural sites by Islamic State militants in the ancient city of Palmyra, a UNESCO World Heritage Site. The process of distilling the data includes hijacking a series of applications to guide and force the data to reconstitute.


Palmyra, 2017. Video datafile, 9:55

Data from Agency France-Presse, Reuters, Associated Press, SANA, UNITAR-UNOSAT, Digital Globe, UNESCO, Institute for the Study of War, Landsat

7 works/7 weeks! It’s the last week of Shared View and thrilled to unveil the complete exhibition! In this last week we’ve added a sculptural work by Alva Mooses. It’s been a pleasure exhibiting this collection in my studio amidst my own work and other artworks, watching it unfold each week, as well as seeing how the artist-curators have been exhibiting my works in the show at different spaces and locations. Great to see a range of media—digital, analog, sculptural, audio—come together and make different connections and references. Many thanks to everyone who has been participating & following! ⚡️🔲⚡️@gabriellemertz


Bottom left (back):

Alva Mooses

“SIGN fragment from ‘Se Entra Bailando / You Enter Dancing”


Cement cast

In Alva’s words:”This series of cast cement forms is made from found shoe soles and sculpted corn textures. The latex formworks used to make these cast forms were manipulated and/or combined making each piece unique. The title of the piece makes reference to the practice of ‘Signcutting, also referred to as cutting for sign, a process by which U.S. Border Patrol agents hunt the desert for walkers’- Luis Alberto Urrea.”



Sari Carel

“Press Play”


Colored pencil and collage on paper



Gabrielle Mertz

“New Variant + 5”


Multichannel installation, electrical material, hijacked devices

SARS-CoV-2 variant microscopy data from NIAID-Rocky Mountain Laboratories, Tsinghua University, Centers for Disease Control & Prevention, Amaro Lab, Whitehead Institute for Biomedical Research, and Leiden University Medical Center



Sara Shaoul

“Welcome to Hawaii”


Collage on paper

11x14 inches



Shanti Grumbine

“Window Study #1


Gel pen on black paper

5.25 x 7.25 inches


Bottom left (front):

Kate Harding

“Untitled (Fortification 4/2021 #1)”


Ink, glitter, metallic gel pen on paper, glass, brass, and silver

1 3/4 x 2 inches



Lee Ann Norman

“Untitled (A-List)”


Recorded text

3' 01”

bottom of page