Documentation; 01/12/15

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Special effects seen at a gig on friday night, the light casting an almost ‘physical’ wall within the smoke

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‘SACRED Danger’, 2015, Ulna Apatina

On Saturday I went along to see a piece of artwork within the centre of Cardiff; an immersive installation that is the second part to a year-long project. The original installation is on Coed Hill within Cardiff, and focuses on the nature of sacred spaces, as well as activating a found space and making it ‘Sacred’. Unfortunately, the second half of the installation is the only part of it that I saw, and I certainly feel like I missed out on a certain important part of the work. The projections within the immersive installation are very interesting, but they are all of different things; one of the sky, one of the artist walking through the space, another on the space around it, as well as the sky above it etc. This isn’t as effective as it could have been, as I believe that it would have been effective to show the space around the work, with the work there. I don’t know, it all seemed a bit confused about what it wanted to be. On top of this, there was also some form of audio track playing throughout the space; it reminded me of the sound of running a stick across a fence’s surface, shuddering as it goes, as well as the creak of metal within the wind.

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This pile of computers and projectors in the middle of the space, however, are what really interested me. the way they are strewn about, one on one, on top of one another, is a very interesting way of setting the forms together. Much like lions, or a pile of amoebas, or slugs, sliding over each other, they hold a certain air of humanity.

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The way that the metal has developed over time is something unexpected. After the initial sacrifice of the object, It was left out in the rain due to the toxic fumes that had been let off by the object’s crisp, black form. Then, it rained for a week, and finally, upon retrieving the object and bringing it into the dry, it has started to rust and develop a specific hide of orange, black and white. The metal, in some areas, has also developed strange hues of rainbow colours; which must be something to do with the process of the burning. How fascinating!

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I became frustrated with the computers, and decided to return to the work that I had created in first year; fitting in with the theme of ‘the cycle’, this series of works and artistic exploration follows the idea of resurrection. I am resurrecting the concept of alchemy, as well as ‘bringing death’ upon the objects, by dissecting, and sacrificing them, to better my own understanding of their build. Concerning ideas of artifacts, and the worship of these ancient objects, I have pushed the computer’s essence out of itself, drawn it into the smoke that escaped it’s burning form, and reduced it to nothing more than a husk. All it’s intelligence, it’s ‘magic’ and wonder, has been exhumed, and it is nothing more than an empty shell. Much like ancient idols of worship, which are ancient, quite clunky effigies of gods or human forms, within the future, so too will the computer be nothing more than a clunky remainder of what once was. Through this, I am creating an artifact ‘for the future’, and exploring the role of the remnant in the future. What will people think of our society when it is nothing more than dust? How will they know what happened, and why would they care? Would these old husks be believed to be remnants of some old and forgotten God?

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I have also been taking apart computer screens, in order to look at how they work, and the lain, transparent form of them. Relating back to the idea I looked at at the beginning of the year, in which I explored the notion of stained glass windows and etchings, yet coming from it at a different angle. The computers are old, and shattered, yet they stay together. And within their plastic coverings, a variety of colours explode when light shines upon them. Much like an oil slick, or the refraction of light in a rainbow, the light bending through the screen’s form is split, and reduced to colour.

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Relating back to the screens, I have been using a very strange sheet of plastic found within every computer screen in my work. Through refraction and diffusion of the light passing through the plastic, one’s perceptions are completely skewed by the strange sheet. IT allows one to see at different angles to usual, as well as being able to see both up and down, or left and right, at the same time. It really is a strange object, and showcases that if a computer were to see out of it’s screen, then it’s understanding of the world would be completely different to our own. To understand such a perception, would require a level of understanding and mental capacity far greater than our own.

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After having a break from working in the studio, and thinking about the notion of my art and where it is developing to. Relating to the notion of the ‘artefact’, and the aspect of remnants and the eventual death of our culture, one will see that our computers will be nothing more than husks eventually. All their information and knowledge will not be passed on through their destroyed memory cores and hard drive, but will instead, I believe, be passed through the interpretations of those who discover them in the future. They will deem them worthy or worship and will instill it with their own opinions and emotions. Much like ancient artifacts found within ancient burial grouns, we are so far apart from them, yet can still figure out (at least a very crude) analysis of the object’s intrinsic meaning. By objectifying the comuter and lacing it upon a shrine, I hoped to create this emotion of worship within the future. It’s successful in the sense that it is sinister, and this plays well into the idea of the machines as potentially taking over our own society, yet, I don’t think it looks quite right, or grasping the concept well enough.

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