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.
Me as Them, Them As Me, 2016, Installation; moving image, structural forms.
Using my cell phone as a predominant mark maker, I have exploited my usage and distributed an exemplified façade created indexically by me, the user. Cell phone usage is a ubiquitous idea now, one that is banal, menial and inescapable. Through compiling unsolicited recorded screen footage, an intimate amount of information is revealed, un-tapered and embarrassingly revealing to not only me, but for others that I communicate with periodically. By forming organic shapes with wire, sequin fabric and industrial chain, not only is my content interrupted, reiterating natures of digital language, such as: photo sharing, editing and manipulation - but upon the projections contact with the fabric, a physical experience is created.This work attempts to aestheticize an area in the digital world that is constantly growing and advancing in time. Social media and cellular communication triggers anxieties and trepidations for many participants, altering the way in which we view the world, relate to it and represent ourselves from the palm of our hands.
Chambers, 2019.
Digital and mixed media
Chambers is a new series of work that centres around ideas of afterlife, human viscera, and the heart. These works represent the four chambers of the human heart, with blood pumping through the atria and moving through to the ventricles, eventually allowing oxygen to get to our lungs.
Seen here with pulsating lights and organ-esque cuts, each work has been composed with inspiration from early cubist/futurists and collaged work, specificaly from Gino Severini and Jean Arps. Seeing works of theirs in the flesh resonated with me in an entirely visceral sense.
I created Chambers aspiring to construct organically shaped objects, much like Enak's Tears, Terrestrial Forms (1917), while wishing that my insides looked exactly like Dynamic Hieorglyphic of the Bal Tabarin (1912).
The Laterals,
This large-scale project was comprised of 14 female identifying artist's work boradcasted to the public in order to pay homage to the Women in Aotearoa who fought for the vote 125 years ago. The Laterals was projected onto the facade of Saint James Theatre, and showcased for Late Night Art as part of Artweek, Aotearoa, in 2018. Exhibition: Wāhine Take Action (Level 2 Gallery, 6-8pm), showcasing the tools and tactics woman have used to fight for their causes over the past 125 years.
