The term that most accurately describes Don Manderson’s current work is Simultaneity. This refers to the simultaneous and insistent nature of the daily sensory experience in an increasingly technical society. This phenomenon is exemplified by society’s constant efforts to leverage the human capacity for concurrent processing of a range of sensory stimuli within social interaction, advertising, entertainment and journalism. Simultaneity is employed in Don's digital montage and video pieces for delivery of personal commentary and aesthetic expression in a manner congruent with the observer’s daily sensory experience.
Concurrence played a similar role in visual art in the early years of the twentieth century in that analytic cubism presented multiple and concurrent views of objects to the viewer. Critics often ascribed this approach to imagery as having been stimulated by precursors to the cubist style such as Paul Cezanne and Robert Delaunay. However, credit is also ascribed to contemporaneously postulated scientific and psychoanalytical theories regarding the importance of relative position and the contextual nature of perception (Albert Einstein/relativity and Sigmund Freud/psychoanalysis). The cubist reaction to these styles and postulates regarding the human experience was confined largely to representation of objects from multiple and simultaneous views and contexts (with obvious implications regarding perception, time and space, and relativity), whereas “Simultaneity” attempts to represent the composition of the daily human experience as consisting of concurrent streams of information in multiple sensory formats.
Don says, “This is accomplished in my work by presenting layers of carefully controlled still images or video segments that in aggregate require the viewer to simultaneously engage a piece at multiple cognitive levels. Both stylistic approaches posses an inherent narrative in that Analytic Cubism certainly questions the folly of a myopic view of the world and Simultaneity questions the capacity to infer coherent conclusions from constant sensory bombardment. Both approaches to concurrence also result in a complex and somewhat agitated visual field requiring extended periods of highly engaged observance by the viewer.”
Don Manderson earned an AA at Pensacola State College, a BFA at Florida Atlantic University and an MFA at Florida State University in 1974. After completing his MFA he worked as an art, design and computer instructor in the Escambia School District, Pensacola, Florida. Largely due to an intense personal interest in computer graphics and computer animation code, he gradually transitioned to a series of fully technical school district roles including District Director of Information Technology. During his 38-year school district career he worked periodically as an Computer Graphics instructor in the Visual Arts Department at Pensacola State College where he showed with the art department faculty and began developing his approach to digital imagery.
Don is now a full time computer graphics artist and is showing in regionally and nationally juried shows. His “digital montage” work exhibits definite influences of his college training in Abstract Expressionism, Funk ceramic sculpture, and eastern art history as well as the technical interests and expertise he developed during his school district career. The resulting multi-layered approach to digital imagery often results in a graffiti-like density of visual detail to express social commentary.
Don Manderson — Rider
Don Manderson — Life Forms
Don Manderson — Dispersants Child