ANNKA KULTYS GALLERY is delighted to announce ELECTROTEXTURE, a presentation of moving image works by Signe Pierce for UNTITLED Miami Beach 2026. This presentation marks the inaugural offline exhibit of seven short videos curated from the American multimedia ‘reality artist’s’ expansive ongoing series, and the gallery’s first presentation at the fair. Filmed across global cities, each is a portrait of hyperreality, as neon lights are reflected in the surfaces of urban and domestic environments encountered by the artist as she travels. In a premiere for UNTITLED and in honour of the gallery’s mission to democratise digital art collecting, each of the seven artworks is available in a time-limited edition run for the special price of 500 USD with an accompanying still from the work as a print. The ELECTROTEXTURE presentation will also include a daily booth activation of performance conversations by Signe Pierce.
Signe Pierce is a contemporary artist whose extensive oeuvre spans video, performance, installation, writing and music. Concerned with interrogating the rawness of human experience and the impact of digital culture on everyday life, Pierce draws inspiration from Warholian Pop Art aesthetics and the postmodern photographic practices of Sherrie Levine, Richard Prince and Cindy Sherman. Taking reality itself as her medium, she mediates it through technical tools, hyperreal technicolour palettes, and digital manipulation and editing. Building on twelve years of collaboration and five solo exhibitions in London, this presentation reflects the close relationship between Pierce’s evolving artistic practice and ANNKA KULTYS GALLERY’s longstanding dedication to championing new-media and technologically engaged art.
As John Berger wrote in Ways of Seeing, “We never look at just one thing; we are always looking at the relation between things and ourselves.” This understanding of seeing reality as a subjective, relational experience runs throughout Pierce’s practice, and is particularly evident in the ELECTROTEXTURE series, which explores the increasingly blurred boundaries between simulation and reality. Each short video is a record of the ephemerality of visual experience, a fleeting moment of kairos in which light, surface the artist’s body meet in unique alignment, coming alive before disappearing across the panoramic windows of airports or shops, puddles in the street, car bodies and washing machines. These overlooked encounters are discovered, choreographed and manipulated by Pierce, filmed on an iPhone and transformed through digital editing. Drawing on the language of traditional artistic practice, the screen becomes her canvas and the iPhone her paintbrush. Yet the smartphone is more than an artistic tool – it becomes Berger’s mediator between the visible world and our perception of it, transforming light, colour and texture into something at once cinematic and tactile.
