CROWD WORk, 2025

LIST OF WORKs

Micro-Martyr, 2025

 electroplated steel, ABS plastic, McMaster-Carr deck nail #97801A110 (3D-STEP),  steel ledge, pedestal, pin spot

3.5 inches tall, 8 gauge

Artist in Repose, 2025

 8K transparent PLA, crystal particulate, fur, kiln-dried wood, mini spots

Dimensions variable

Solo Stick Up (Yesterdays Threaten Tomorrows), 2025

 Uncured, bone-white PLA, mirror, pedestal, bricks, pin spot

Dimensions variable

Penitent v. Paparazzo, 2025

Uncured, bone-white PLA, brushed metal, white ash, pin spots

Dimensions variable

Crowd Work, 2025

 3-channel video, stereo audio, CGI animation, found and original footage

3:30 loop, dimensions variable

EXHIBITION TEXT

Crowd Work explores fractured identity and spectacle in the digital-industrial age, staging a collision between materiality and illusion – between the body as a constructed form and the self as an ephemeral projection. In this theatrical alter-realm of cloned selves, the artist’s identity is untethered, splintered, and constantly recomposing itself in mirrored fragments.

Each sculpture, created through hours of 360° LiDAR scanning, is digitally re-sculpted and 3D-printed in raw, uncured white resin or crystal. Frozen in uncanny poses and jarring pairings, these cloned figures defy the logic of utility and mass production associated with digital fabrication.

Individually lit by pin spots, the sculptures’ oversized shadows extend beyond form into something more elusive. Dispersed yet interconnected, they oscillate between isolation and participation – alien when alone, almost ritualistic as a group. Suspended between formation and erasure, the sculptures reflect a self in perpetual flux, shifting across time, memory, and perception.

Accompanying the sculptures, a multi-channel video – set to the manic blare of fanfare horns – stages an altar to the spectacle, invoking surveillance, fragmentation, and alienation. Across three projector screens, an unrelenting sequence of spotlights, floodlights, and searchlights—lights that stage, seek, trap, and exalt—scan abandoned theaters, vacant stadiums, grandstands, rallies, and red carpets, all heralding one great big non-event. A site where spectacle and void converge, Crowd Work dissolves the self into light, shadow, and the empty architectures of collective longing.

ABOUT 

Jayson Mittman (@mittmos) is an artist, writer, and researcher based in Los Angeles. His practice encompasses physical and digital sculpture, video installation, experimental animation, and interactive technology. Born in New York City, he studied philosophy and literature at Vassar College and Columbia University and will receive his Fine Art MFA from CalArts in 2025.

Inquiries: studio@mittmos.net