Virtual Material emphasizes the etherial nature of the digital artifacts of screen based image technology. Sensuous images of water, up and downloaded through social media channels, sampled regions merging disparate images, the resolute reconstruction of the image through the materially divergent data centers imagine a visual representation of web traffic. The resting images are then pulled apart to highlight the imperfections arising from the multi-stream construction of virtual imagery. The scale of the works in this series allows for the simultaneous viewing of details from a greater distance, than the direct hand-to-body relationship we often hold with screens or imaging technology. The sensation and perception of movement and change becomes part of the image, and performed through the body of the viewer.
Virtual material, 2013-ongoing series. Digital print on matte paper. Sizes vary unless otherwise noted.
Teknovisuell Experience, 2015-2016 (text follows slideshow)
The printed images are made to highlight aspects of distortion and distance in viewership. 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. Often today images are quickly digested from the hand. These images taken from the hand and 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 or shelter for the body, image degradation allows for visual emergence, and perceptual emergence of digital processes. Viewed at a distance, the images which were once online, in the palm, are completely viewable in a personable size. This close-up, screen view of the water, can be taken as resembling art histories, as they are present in our day to day lives-where small selections of visual information are emphasised or scaled up for their current relevance. The exhibition proposes 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 of that which they have been holding in their hands. The exhibition to consider seeing “what is really there” in terms of representation, and the current digital technology as a resurgence of impressionistic idealism in 2016. Further, the subject of water-and increasingly relevant conversation in the times where humans are uncertain whether their technological developments are having direct or indirect relations to changes in sea levels and the natural environment.
Sirens series, 2014, photographic image on acrylic, sizes vary. Artist proofs available on paper, (text follows slideshow)
In the infamous painting of Ulysses and the sirens, men are tempted by beautiful sounds and visuals of female figures. The narrative tensions high, and the forms of representation figurative and realistic. The Sirens series depicts the seductions of ideological progress via technology as altering landscapes from their natural state and cycles. Immaterial substances, such as sound, are known to have transferred physical implications. Across a visual spectrum of amplification and degradation, modern grids of rises and falls span meditative expanses of organic forms to represent the sirens during a time of learning relationships among the immaterial/psychic and material/physical.