The drawing is lost in space. There is no frame of reference between the marks on the page and the emptiness around them. Now the internet is amplifying this, a throwback to the early, uncluttered days of the net. The empty space is now the webpage. This time, it isn't enough to encounter the drawing; first you will have to find it.
I look at the interaction between man and nature and themes of preservation in my practice.
I am able to preserve a fragile and transient flower by photographing it. By creating a 2D image out
of a 3D object, it conjures ideas about pressed flowers and keepsakes, creating a still life image.
This flat photograph partnered with an "archaic" poem, viewed on a digital screen; pushes the boundaries between old and new and how we view such "antiquated" imagery and text in a digital, interactive world.
I like the notion that by exhibiting our artworks in an online exhibition, potentially means that they will stay on the "state-of-the-art" internet forever, archiving the exhibition, turning it into a museum, preserving our artworks.
In a digital world where everything posted online is instantly archived, providing us with an exact time, date and location of how and when it was posted; creating a timeless image on a blank webpage blurs the lines between then and now, and how a futuristic digital world can be history, just now, 1 minute ago, 2 minutes ago...
What if we could watch Simone de Beauvoir, Donna Haraway and Suely Rolnik sitting down on a table discussing a topic? Across celebrated texts of these authors this site allows conversations to be formed by the drawing of a random word. When the button serve is pressed, a conversation begins. The contrast between texts and topics brings together the feeling of inconclusive communication, as if in a drunken conversation. The drawings of Victoria Sin illustrate each writer and are activated when they join the conversation. Serve them a drink!
Using classical geometry as a platform, my work explores the different tensions and potentials between two-dimensional drawing and three-dimensional space, ranging from drawings applied directly onto interior spaces, to hand-rendered and digital prints. As part of Online, Perhaps? I was faced with the challenge of creating work directed by a virtual, rather than physical, space. In Sequence (3) I have substituted spatial interaction with a virtual one, creating a viewer-directed piece that evolves into one of 100+ potential drawings, based on what options are selected throughout the work. Whilst the final outcome of the drawing is a direct result of selections made by the participant, the drawings themselves are already drawn, arranged and coded by the artist in advance, using the virtual platform to create a work that is simultaneously pre-determined and indeterminate.
Protoanatomy Test 1, 2016, is a digital sculpture of a fictional anatomical specimen. It is the result of translating previous experiments with scientific drawing processes into digital media; a growing practice in scientific and medical illustration for its clarity and convenience of production/distribution.
Beasties Fighting is a painting based on an internet image of three black women fighting each other. Its a low-quality image, rendered in a black and white painting. It is indicative of the breakdown of the "Black community" and also illustrates the modern image of femininity as in transition.
A Solipsistic journey through the post-industrial landscape of South East Northumberland, this film follows its protagonist on a journey of self reflection and soul searching through a region of abandoned coal staithes and grey cooling towers. Focusing on the sudden absence of the heavy industry upon which communities built up around and generations relied on for employment and a sense of pride and asks the question, what next?
Young lad: Mark Langston
Directed by Mark Langston
All rights reserved Mark Langston 2016
"More than the Sum of my Parts, is a virtual self portrait which shows me turning/spinning around. I was exploring the space I take up in the world both physically and emotionally and wanted to be true to myself. I decided that rather then imprinting from it, I would look at making my own body. This challenge lead me to produce a life-size abstract sculpture of myself in wire, including lumps and bumps, filmed to show how I feel much of the time."
Susannah invites you to engage with her work, Display Copy, from a distance. Currently working on relationships to landscapes via material, gesture, and tactility, Online, Perhaps? has brought her to consider the physical aspect of viewing online. Display Copy aligns looking and touching, eyes and fingertips, and yet denies contact with the drawing just as in a physical gallery space.
Work in progress Rien/Nothing places the viewer in the artist's head, in a state of blur similar to this of a dream or of overwhelming thoughts. It addresses the strange effects of bilingualism in the mind and aims at questioning the paradoxes of identity and perception.
To be conscious is "to know", but what can we "know" before we begin to make? It is impossible to know nothing. A dialectical tension between form and material, A Pause of Thought, is a material experience. It is a calculated unconsciousness, a deliberate act, and open to the accidental. It is an awareness of contact that is without purpose. It is a quiet drama held within the evidence of the decision-making; a disruptive trace of the handmade in the making.
A tribute to all the abandoned links, to all forgotten projects scattered on Internet: "Archived" is a hand drawn journey across experimental landscapes, hiding over a dozen links to various dated artworks.