As inhabitants, participants and witnesses of the modern era, one’s relationship with the screen is increasingly, and indefinitely, co-dependant. We instinctively understand that images exist primarily as article embodiments of Analogue or Digital data; however there is a further discourse to be established concerning the anatomy and agency of visual representations of the being. Of which, primary concern is the translation of the human body through mechanism, media and mind.
The act of representation is a transaction - an exchange between true presence and absence. It is therefore worthy to consider the implications of representing an entity capable of consciousness, animation and empathy; what is gained when humanity is forfeited?
As a practitioner, purpose was found in translating visual data between states of spectral virtuality and tangible quasi-being; intensely [re]photographing screens displaying photographic images of human beings with both analogue and digital optical devices, the data is forced to naturally mutate. During this entropic decline, the visual data becomes suspended between states of being and non-being - it is this suspension which one translates into an oil on canvas artefact. Mimicking the scale of the observer, these painterly quasi-human beings dissolve into the virtual pictorial realm that we ourselves are forbidden.
These beings are silent, existing quietly between that of significance and insignificance; standing forever as remnants of my presence, and permanent statements of contemporary instancy. These images do not possess the power for political, social or economical change, and it is with hope they never do. Their value lies in their anatomy as paintings; as physical documents of invested time - quasi-beings generated to confront, and be confronted by, their witness.
In absence of a fixed identity, one is faced, simply, with emptiness. This shared moment of silence is our opportunity to recognise the integral differences between being and non-being; our animate radiation amplified against the untraversable. The interface is forever passive; by [re]assessing our entwined relationship, one can establish a more considered engagement with screen based digital media.
The Artist and Herself: a Dialogue on Refelction / WithoutEnd Symposium 2019
Representing a Reality: A Study into the aided Translation of the Real through Analogue and Digital Optics / 2018