SUBLIME TIMESCAPES, 2016 – ongoing, film photography. Working with photography to look at vision and structures of flow in nature, the series looks at the ways human understandings in embodied cognition differ and share in algorithmic learning methods in artificial intelligence.
The ability to extract and invent new forms in visual flow through turbulence are well documented throughout histories in painting. Painters used water to depict visible and etherial flows such as Katsushika Hokusai, Gai Wang, DaVinci, Vincent Van Gogh, Pollack. Today’s machine translated representations from NASA’s imaging technology, geological terrain mapping, and medical imaging processes are common referents during our technocratic times. The use of digitally modelled stories rendered by machine, contribute to Artificial Intelligence’s attempts to work mental turbulence processes painters used with their nervous systems, through technical depictions informed by sampling copies. Photography can serve as a mediary tool on a spectrum of painters and bodies on one end, and algorithms and copies on the other.
By working with what was already there instead of sampling representations, the exposures on Kodak Gold film were made with a meditative intention of un-selfing. Connecting directly to flow and turbulence within landscapes, the “I” disappeared to imprint film in a 1:1 moment using a rangefinder camera. Dissolving the self permitted a sensuality and vitality in textural abstractions, merging the viewer and environment through images of water and stone elements.
Magenta and Amber hues are emphasised after scanning the film. Magenta is understood as a unique facet of human vision, created in the mind and not existing on objective frequency wavelengths. Amber is a hue and resin with a relationship to the electron, as the material of amber can be negatively charged. While today’s view of ancient folk medicine considers the healing properties of amber (Chasmal) a pseudo-scientific electrical conductor, accumulated sap hardened over time does subtly interact with electronics, such as blue-tooth headphones and in the way nature communicates with different lifeforms. In the way material properties of physical matter are mirrored in the reflexive process of making the exposures, the resulting frames invite concentration on proposed divides between image, imagination, psyche, and reality. The images were created to foster benevolent flows for the viewer.