Applications, 2016.
Ribbons on Clams, 2016 (1 of 3)
[Acrylic, Reverse Vinyl Graphic Print, LED. 500x500mm]
These 3 works have been created through an application on my phone, allowing arbitrary and impulsive design choices to be formally represented. Ubiquitous features found in applications allow a myriad of contrasting design preferences that currently over-saturate social media and infiltrate ways in which we view online imagery.
Photos previously taken and stored on my phone, or freshly photographed images are combined, which in turn creates a digital narrative captured by myself as the user. This also allows a protagonist role to be present within the work. Apps used to create compositions are chosen, at random, from my tool- box of design applications. This aspect further represents the personal and global immediacy in technology that we have insistently become reliant on.
Investigation into iphone applications as alternative art making tools, material utilization and translations of digital compositions becoming physical objects are three prevalent areas of research informing this final installation.
Currently in Chartwell Trust, Auckland Art Gallery, Toi o Tamaki, New Zealand.
Applications, 2016.
Ribbons on Clams, 2016 (1 of 3)
[Acrylic, Reverse Vinyl Graphic Print, LED. 500x500mm]
These 3 works have been created through an application on my phone, allowing arbitrary and impulsive design choices to be formally represented. Ubiquitous features found in applications allow a myriad of contrasting design preferences that currently over-saturate social media and infiltrate ways in which we view online imagery.
Photos previously taken and stored on my phone, or freshly photographed images are combined, which in turn creates a digital narrative captured by myself as the user. This also allows a protagonist role to be present within the work. Apps used to create compositions are chosen, at random, from my tool- box of design applications. This aspect further represents the personal and global immediacy in technology that we have insistently become reliant on.
Investigation into iphone applications as alternative art making tools, material utilization and translations of digital compositions becoming physical objects are three prevalent areas of research informing this final installation.
Currently in Chartwell Trust, Auckland Art Gallery, Toi o Tamaki, New Zealand.
Cessation, 2017.
Multi-media, HD video, colour, sound. [14mins (looped)]
Cessation aims to articulate the supposed seven stages of grief by constructing and manipulating internet imagery. Self-recorded moving image, gifs, green screens, sound clips and animations are used as tools to create a visual navigation, travelling through elements of shock, pain, anger, reflection, revelation, reconstruction and hope.
Combining digital elements with artificial foliage regurgitates internet’s recurring motifs and iconography in a real-time, physical space. Similarly, the median stage of grief as 'depression, reflection, and loneliness’, is represented here by a statue with synchronized white screens and accompanying sound.
Although all footage has been manipulated, edited and sequenced based on an ongoing, private navigation of grief, degraded footage has been sourced based on the internet’s un-cited terms and definitions. The publicly accessed, low-quality content across these sounds, objects and imagery eradicates agency and personal sentiment is almost entirely lost.
