ABOUT SAMUEL STUBBLEFIELD
Known for a collaborative, anti-disciplinary approach, Samuel Stubblefield merges unusual materials and situations such as plants, boats, computer vision, earthquakes, the internet, jellyfish, real-time data from nature, miles of bungee cord, mixed-reality technology, urban conditions, projected video, oceans, robotics, natural landscapes, and software algorithms.
Stubblefield’s collaborative workshop uses fine art as a platform for pursuing widely valuable curiosities and related technologies. The work often facilitates a participatory exchange between modern society and broader nature. “Much of this work is about finding the edge of our ability to perceive. If we are successful, we suddenly have a relationship with phenomena that was previously inaccessible.”
Accustomed to creating works for an international audience, Stubblefield has created art and “situations” around the globe with organizations such as Amazon, Bill & Melinda Gates Foundation, Centre Pompidou, Domaine de Boisbuchet, The European Cultural Centre in Venice, Italy, Google, Google X, and NASA. Stubblefield has been a featured speaker at SXSW and has been written up in publications such as Fast Company, The New York Times, Sculpture Magazine, and WIRED Magazine. Stubblefield has exhibited amongst established and emerging artists, including Louise Bourgeois, Lawrence Weiner, Richard Tuttle, Yoko Ono, Keith Sonnier, Carl Andre, and Marina Abramović.
Along with his frequent creative partner, Joshua Borsman, Stubblefield is currently exhibiting “Uzbekistan 2.0” in the European Cultural Centre in Venice, Italy.
Their previous work for the Venice Biennale used technology to connect people to the natural world and its rapidly evolving reality: rising sea levels, changing weather patterns and ubiquitous technology. The current work continues to focus on the intersection of “humanity’s expanding digital reality and our diminishing contact with our natural biological and spiritual legacy.” As Stubblefield says, “There is a unique and particularly intelligent beauty at the intersection of nature and things digital. We should consider that carefully.”