If you like your art to come with a healthy dollop of social media snark and a side of pithy witticisms then Adam Mars has just the treat for you, in the form of the sugary but not-very-sweet Once Upon a Time We Weren’t Stalkers. Human interaction in the digital age is the general field of interest for Mars, who delivers sharply-observed backhanders sprayed onto a mocked-up brick surface. This urban canvas is first given a sugary coating with what used to be called hundreds and thousands in the good old days, now rebranded as candy sprinkles for the confused international market.
Brightly coloured and alluring but ultimately devoid of value, the surface also gives the images a pixelated quality, casting visual interference on the message. My JPEG Belongs in a Museum clamours for recognition in an over-saturated environment, at the same time commenting on the rise of digital media and ruminating on its future as historical record. The Last Offline Lovers offers a slightly melancholy observation on our increasingly data-driven romantic lives, while the exhibition’s title piece harks back to a more innocent time when we couldn’t snoop so easily on each other. Los Angeles gallery GUSFORD is hosting the collection until 20 December.