Sometimes through the moniker Grimeography, Tyler Grimes' (b. 1994 in Wilmington, DE) multimodal works often ponder paradox in order to provoke reconsiderations of one's perception of (and purpose in) reality. His work spans video installation, emergent technologies, photography, performance, and ecologically-engaged art projects. Synthesizing insights from various schools of thought allows his research to intersect media-ecology, the cognitive sciences, and contemplative practices. 
 
Grimes has a background in visual communications, which is supplemented by a Photographic and Electronic Media MFA from the Maryland Institute College of Art. His work has received research grants, fellowships, been exhibited internationally, integrated into award-winning film productions, and featured in artist residencies. As a writer and educator, he lectures on media and communication theory, philosophy, production techniques, and aesthetics. He is currently engaged in doctoral studies at the University of Colorado, Boulder. 
 
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My practice-led research seeks to deepen our connection to the environment - both real and 'rendered.' I often employ nonsense, self-reference, and absurdity as visual devices to question how technological mediation and other factors influence our relations to the environment. Often employing experiential ways of knowing, this artistic inquiry fuels a critique of quotidian cartographies of real and 'rendered', placing the 'rendered' in a process-based ontology towards becoming 'real' again.

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My work aims to cultivate a more-than-less-than-human awareness of the environment and it's proxies by problematizing and cognizing the materiality of 'rendered environments'. Through metaphorical and sometimes literal interviews with the environment, I ask, how does it feel, and more interestingly through the lens of neuroaesthetics, how do we feel when interacting with representations of the environment?

Drawing from ancestral cosmologies that position the environment and it's beings as a liminal, non-dual, and perpetually in process medium entangled with its surroundings, these gestures hope to evoke a sentient and animistic environment. In a precarious ecology saturated with media technologies, I see these explorations of as urgent.

Perhaps within the absurd, we can uncover new forms of meaning.