Lindsey French
My work investigates the boundaries we accept between human and nature, self and
environment, land and art. I see the allure of technology as a social reality, and am
drawn to the contradiction when contextualized with ideas of land and nature. How
do we respond to our environments, and how can they respond back? How do we
relate emotionally? In an increasingly digital world, how can we engage with the
systems upon which we depend, while maintaining or restoring a connection to the
natural world?
I juxtapose organic materials and digital processes to explore the tensions and
relationships between them. Density, strength, fragility, and connectivity emerge
through repeated forms, juxtaposition, and the inherent qualities of the materials
themselves. By mediating material realities with digital processes, I seek a new
understanding of nature, a nature that is simultaneously flattened and complex.
Kimberly Harty
Mapping is defined by taking one set of information, known as the domain, and
mapping it onto a corresponding set, known as the range. I use this relationship to
do conceptual mapping onto material objects, using the mechanism of the gird.
Using a projection of a grid I am able to transform ordinary objects into sublime
landscapes. Materials such as tulle, soap bubbles, threads and plastic bags are
utilitarian and banal, but their ubiquity inspires me to reexamine them, and reimaging
them as something transcendent. My work seeks to reveal the sublime potential of
domestic, and often ephemeral materials.
Through the vocabulary of mapping I am attempting to alter the perception and
assumptions of ordinary materials, as a way of reconsidering what they represent.
While a wedding dress, or a soap bubble is usually something contained and
domestic, it can also be imagined as something that is vast, powerful and awe-
inspiring.
Sanghwa Hong
With the passage of time, and sometimes as the result of illness or injuries, our
memories of important past events such as childhood experiences may no longer
fully reflect the drama of the original events. Recollections of everyday occurrences
often greatly outnumber memories of dramatic events and should still not be lost
altogether.
My work seeks to evoke everyday memories, helping replace our lost continuity with
the past, restoring the vividness of what has faded. With this ability to heighten the
intensity of experiences, technology plays a valuable role in deepening our
impressions of the seemingly ordinary, thereby helping prompt us to re-examine and
reconsider the ongoing significance of our memories. By restoring our connection
with the past, we are able to live more authentically in the present.
Matthew Jernigan
Science is often expected to provide unquestionable truth. Reality, however, is
malleable and temporary. My intention is to allow the viewer to have an experience
that is radically different from their daily, first-hand reality, yet remains uncomfortably
familiar. The senses can be composed and presented to the viewer in order to allow
for a pure sense experience – one that approaches the sensation of an unaltered,
day to day existence.
The audience acts as subject rather than spectator, and each individual brain acts as
the artist. I want only to provide stimuli – letting the outcome of the piece rely on the
internal experience of the viewer, completely and intrinsically subjective. In this way,
my work is not a subjective expression, but more of a science experiment – although
removing any specific expectations or desired outcomes.
Sophie Kahn
My work explores the uneasy intersection of new imaging technologies and the
body. I misuse high-end 3d laser scanners, and use the data to create digital prints,
video and 3d printed sculpture. The constant is an interrogation of scientific imaging
devices and their claims to objective representation. Constant too is the idea of the
image as trace: the residue trailed by a body as it moves through time.
The precisely engineered 3d laser scanners I use were never designed to represent
the body, which is always in flux. When confronted with a moving figure, they
generate fragmentary results: a 3d ‘motion blur’. But the scanning process generates
other referents too. The closed eyes and deathly, frozen attitude of the scanned
bodies also resemble death masks and other memorial representations. It is this
concern with memory, loss and time that weaves together the ancient and modern
technologies combined in my work.
MinSo Kim
People who you know now are people who passed by you several times without
noticing each other's existence.
People are influenced by and influence change in the environment. Imagine your
daily commute. Maybe you get on the metro, on a bus, or in your car every morning.
Every day you walk on the same street, get in the same elevator and take the same
stairwell. Although your commuting journey looks pretty much the same, things you
don’t notice may be changing.
Slight similarities and slight differences in spaces at ephemeral times are my
interest. In specific, I want to explore the ambiguity of the character of spaces via
invisible, ephemeral relationships with time.
Joseph Morris
I make work that uses motion and disparate materials to engage an
audience. Making art that exists in the world, instead of a two dimensional surface,
aligns itself with the physical reality we inhabit. It presents itself in its entirety,
truthfully showing everything it is, from nuts and bolts to thin films of plastic sheeting
and fishing line, and using motion it attempts to exist in our world as something that
is not only affected by time, but moves with it.
With this body of work, I am creating moving structures that expand and collapse to
move air within a space. They engage with air, a near immaterial substance, as the
fundamental component that represents a set of metaphors referencing breath, the
body, space, time, and gesture. I am trying to craft an experience for my viewer, one
that goes beyond the works physicality, which like air, is intangible. At the heart of
the work resides ambiguity between the metaphor and its material, at once a gesture
and the machine.
Milad Mozari
I diffuse sculpture and performance through space to question the relationship between the physical and nonphysical. This involves information systems superimposed onto the material domains. Objects and acts are placed in temporal space, to investigate how technological landscapes such as broadcasting alter our sense of duration. This topography allows personal narratives to address other subjects such as entropy, cognition and conversion.
Phil Peters
My work is centered on the creation of objects for reflection, introspection, and
meditation. I am interested in how we engage emotionally with technology in a
networked culture, where we are increasingly dependent on technological systems
that enable and encourage us to socialize and communicate on a super human
scale. I draw inspiration from cognitive psychology as a departure point to address
broader social and cultural concerns of communication, isolation, and intimacy. If we
focus attention, strip away artifice and abstract the kinds of real world signals our
bodies have evolved to respond to, can we renew or create different forms of
intimacy? Ultimately my work questions the authenticity of these experiences and
looks critically at a world that is increasingly mediated by the digital.
David Rueter
My work connects felt experience with the complex behaviors and structures of dynamic human systems. Using a diverse variety of media including photography, sculpture, interactive installation, and performance, I borrow techniques and tools from information science, structural engineering, consumer product design, cartography and ethnography to investigate such diverse topics as war casualties, geospatial patterns of pollution, industrial infrastructure, mass surveillance, and urban transportation systems. Unlike their scientific counterparts, my investigations and experiments do not seek demonstrable proof -- instead, they aim to transform, and to create new and subjective encounters with the complex systems we simultaneously succumb to and perpetuate.
Vincent Tiley
My work investigates the psychological and cultural space that technology, religion,
politics, and science fiction all occupy. Each technological advance comes with a
hope for utopia and promise of apocalypse and as consumers of technology we
devour both with incredible appetites. As an artist I try to find and reconstruct
moments when these structures meet, where you can find politics in invention and
god in technology. I use my work as an intersection for the anxieties that drive these
social forces. I’m motivated by anxieties and frustrations surrounding concepts of
identity, justice, perfection, futility, and eternity.
By appropriating meaning we enrich our subjects. By complicating technology, faith,
and politics I hope to add to their depth and entangle their motives. They are all part
of the same horrible device. A device made by us, for us, and for which we are its
casualties.