Virtual Material to-date contains: Teknovisuell Experience, Sirens Series, and Relatively Dimensional Still-life, 1919 in 2017. The chapters in Virtual Material emphasize the etherial nature of digital artifacts.
In Teknovisuell Experience, sensuous images of water, up and downloaded through social media channels. The referent emerges through into a disparate image. The resolute reconstruction of the image made via materially divergent datacenters, imagine the installed water-like works as realisation of web traffic and all the complicit labor involved: emotions, data, real life-fragmented in a series of sensual images.
In Sirens Series, sound wave file recordings from smartphones are applied to rural landscapes. The images are then digitally pulled apart to highlight recording details as new artifacted landscapes, obfuscating and converging with the nature landscapes.
The scale of these works change the hand-to-body relationship held with screen technology and activate sensation and perception through movement as the body of the viewer distances or nears themselves to the works.
In Relatively Dimensional Still-life, 1919 in 2017, the viewer/collector/buyer/curator work with the artist to determine the iteration of the limited edition of 3, the work is printed in to highlight a shift from the ideal of collaboration to the realization of corroborating through technology.
Teknovisuell Experience, 2015-2016 (text follows slideshow)
The number of images refers to historic myths. When visual information is taken in closely versus at a distance, and how that is processed psychologically and somatically. In place of personally made meals, modern, office work culture supplies images, emails, quick bites and bars. The images in these series were made from mobile phone, uploaded and downloaded a number of times through media platforms and digitally pulled apart to scale them to approximate the size of a human body. Can an overwhelming image provide shelter for the vulnerable body? Viewed at a distance, the images are completely viewable in a personable size. The close-up view reveals the degradation the image of water has undergone. The installation of this work invites viewers back up to take in the pictures to see them as smooth surfaces, or to dive in close, to examine the virtual artefacts-the details in the hand held device. The exhibition considers seeing “what is really there” in terms of representation, and the current digital technology as a resurgence of impressionistic ideals during our life time. Further, the interests of water, for physical needs, idealistic needs confront data and political rhetoric where lives, landscapes, and profits are at stake.
Sirens series, 2014, photographic image on acrylic, sizes vary. Artist proofs available on paper, (text follows slideshow)
Relatively Dimensional Still-life, 1919 in 2017