My current work is an exploration of some of the complexities that lie at the intersection of nature and digital technology. The patterns and configurations I use to compose my panels are inspired as much by molecular structures, microscopic organisms, and macroscopic botanical life as they are by technical schematics, cryptic codes, and scientific systems of notation.

With a wide range of both organic and mechanical references in mind, I initiated this project several years ago with one single array of points laid out on a grid. Over time, and by way of applying various mathematical transformations, this initial set of points generated the full repertoire of patterns that constitute the formal language used in this body of work. The different patterns are stored on Mylar templates, which get used and re-used as needed. In a manner that resembles some of the techniques of traditional printmaking, they are then transferred to the panels by way of tiny punctures made with a steel instrument through the holes in the template.

Several distinct sub-series have developed within this body of work. In one of them, the Reticulations series, multiple layers of one pattern are used to form dense, all-over fields from which unexpectedly organic forms seem to emerge. In another, the Rhizome series, a pattern forming a sequence of interlocking geometric units is configured in various ways to suggest organic growth and/or decay.

On one level, the work can be seen as a study in how complexity emerges from simplicity both in nature and in artificial simulations. Ultimately, however, it is the questions generated around the convergence of the organic and the mechanical that interest me. Is our cultural obsession with technology merely a trend-the predictable by-product of a technology-driven culture, which has become both the means and the model by which we understand the world? Or, does this melding of organic and mechanical signify something more profound, such as a deep psycho-spiritual yearning (i.e., for "re-union")? The abstract and ambiguous nature of the work, in conjunction with its sparse, contemplative aesthetic, is meant to encourage not interpretation but rather open-ended reflection, contemplation, and speculation about our relationship to nature, ourselves, and high technology.

TANEY RONIGER
151 Driggs Avenue #1L, Brooklyn, NY 11222
4614 County Highway 10, East Meredith, NY 13757
taneyroniger@yahoo.com
www.concatenations.org
(607) 435-6908

EDUCATION

1997 Yale University School of Art, New Haven, CT
M.F.A., painting and printmaking.

1992 School of Visual Arts, New York, NY
B.F.A., painting. AWARDS AND FELLOWSHIPS2004 (Winter) Yaddo, Saratoga Springs, NY
Visual Arts Fellowship

2004 (Summer) Yaddo, Saratoga Springs, NY
Visual Arts Fellowship

1996, 1997 Yale Scholarship

1992 Stacey Sussman Cavrell Memorial Travelling Fellowship

1992 Richard L. Seyffert Memorial AwardTEACHING EXPERIENCE1997 Yale University School of Art, New Haven, CT
Teaching Assistant to Laura Newman, introductory drawing

1996 Yale University School of Art, New Haven, CT
Teaching Assistant to Steven Sheehan, introductory paintingRELATED PROFESSIONAL EXPERIENCE2001-2004 Slide Curator/Research Assistant to Suzanne Anker, Chair of Art History,
School of Visual Arts, New York, NY

1998-2001 Professional Assistant to Frank Gillette, New York, NY

2000 Research Assistant to Jeanne Siegel, Chair of Fine Arts, School of Visual Arts, New York, NY

SELECTED EXHIBITIONS

2005 13 Boxes, Goliath Visual Space, Brooklyn, NY

2004 Thought Patterns: Pattern and Ideas in Recent Painting and Drawing, Kent Place Gallery, Summit, NJ
Benaddiction, Goliath Visual Space, Brooklyn, NY

2003 Random Order, curated by Lauren Ross, White Columns, New York, NY
Benefit Auction, White Columns, New York, NY
Mix/Remix, Metaphor Contemporary Art, Brooklyn, NY
Hello Dolly, Metaphor Contemporary Art, Brooklyn, NY
Paper

2003, Metaphor Contemporary Art, Brooklyn, NY
Holiday, Metaphor Contemporary Art, Brooklyn, NY
Douglas Dibble Memorial Art Auction, Hunter College Times Square Gallery, New York, NY

2002 Affordable Art Fair

2002, New York, NY
Accumulation, Clifford-Smith Gallery, Boston, MA Reactions, Exit Art, New York, NY
Benefit Auction, Goliath Visual Space, Brooklyn, NY
Detritus

2002, Wall Gallery, City University of New York (John Jay College), New York, NY
Reactions II, Williamson Gallery, Art Center College of Design, Pasadena, CA

2001 Four New York Artists, curated by Mayumi Hayashi, Gallery Canolfan, Nagoya, Japan
Repetition in Discourse, curated by Phong Bui, The Painting Center, New York, NY
Art from Detritus: Recycling with Imagination, Wall Gallery, City University of New York (John
Jay College), New York, NY

2000 Flatfile, Bellwether Gallery, Brooklyn, NY
Benefit Auction, Bellwether Gallery, Brooklyn, NY

1999 Group Show, Goliath Visual Space, Brooklyn, NY
Art Under the Bridge, d.u.m.b.o. Arts Festival, Brooklyn, NY

1998 Franklin Fest, Tribeca Art Walk, New York, NY
Self Portraits, Dieu Donne Paper Mill, New York, NY
Earthchallenge Art Auction, Donna VanGogh Gallery, Atlanta, GA

1997 M.F.A. Thesis Show, Yale University, New Haven, CT
Second Year Student Exhibition, Yale University, New Haven, CT

1996 Incoming Student Exhibition, Yale University, New Haven, CT
On Site, exhibition of site-specific installations curated by Dean Yamamoto, Architecture Building,
Yale University, New Haven CT

SELECTED BIBLIOGRAPHY

Baird, Daniel, "Repetition in Discourse" (catalogue), The Painting Center, October 2001.
Johnson, Ken, Review of "Random Order," The New York Times, Friday, June 6, 2003.
Kalm, James, "Repetition in Discourse", NY Arts, November 2001.
Krenz, Marcel, Review of "Random Order," Flash Art International, August 2003.
Millis, Christopher, "Club Meds: Getting Off on Obsessive-Compulsive Art", The Boston Phoenix, October 2002.

SLIDE REGISTRIES AND FLATFILES

The Drawing Center, New York, NY
Artists Space, New York, NY
White Columns, New York, NY
Pierogi 2000, Brooklyn, NY
Rotunda Gallery, Brooklyn, NY
Re-Title, London, UK