As of the mid-nineties it was pretty obvious to me that everything was destined to be digitalized and mediated through computers. I couldn't really exclude my practice from what seemed to me the obvious.
The art I make emerged from a postmodern perspective. This viewpoint is less historical than a paradigm shift very much connected to the changes in technology and specifically, computer communications. In my view, post-internet art is making things in a general environment of a networked world.
I work with a dialogue that I construct by selecting pictures from random digital contexts and working with the now latent images as if they were discrete bits of pigment from which I build new landscapes of my thought process. What I do on the Internet feels the same to me as painting in the studio, I deal with most of the same issues that I have on canvas and conceptually I get the same results so I never saw a reason to separate my approaches. My work is as comfortable in the form of new media objects as in more traditional media.
Andres Manniste has been working with the communications technologies since 1993. He has consistently factored these technological and critical environments into his projects. Educated as a painter and printmaker, he has participated in many solo and group exhibitions over his career, most recently, the wrong epicentre, Valencia, Spain (2019), Back to the Future II (2016) at Galerie Joyce Yahouda and the solo, Ensevelir, at Galerie d'art d'Outremont (2018) . Manniste has been the recipient of several important prizes including grants from the Canada Council for the Arts and the Quebec Ministry of Culture. His work can be found in public collections including the Montreal Museum of Contemporary Art, the Heritage Collection of the Quebec Archives, and the Canada Council Art Bank.