Duets

 

 

Stereoscopy is a technique used to give an illusion of depth in an image. Sir Charles Wheatstone invented the earliest type of stereoscope in 1838 – it could be argued that stereographs were the original virtual reality.

Human vision combines two perspectives (what the right eye sees and what the left eye sees) to give brain information different perspectives. The difference in what the eye sees is called parallax. In virtual reality, cameras used for to filming are also separated into left and right cameras to create a perfect parallax effect.

“Duets” is a meditation on the idea of new media – technologies that we claim to be “new” often have their roots in technologies that are sometimes as much as one hundred years old. Using 3D camera techniques and a split screen, “Duets” also explores the intimate relationship of two abstract shapes. The anthropomorphised shapes dance around one another, a centralized gravity pulling them together.

One of the things that I love most about my field is that as new media artists, we work to maintain one foot in the past as we step towards the future. As awkward as that sounds, so much interesting work comes from tension of these two worlds.

MEDIUM: Foam, birch, stereoscope lenses, monitor, media player 16″ x 16″ x 7″ 2020

Within and Without

 

Expanded cinema allows time-based work a way to enter more fully into our analog world. Released from the rectangular screen, we encounter the video in unexpected places. Projecting onto three flat circles suspended in air, this piece explores the world within and the world without. We are strangers to ourselves and to the world around us – what can we do to integrate ourselves?

You can view excerpt of projected video here.

MEDIUM: Laser-cut wood, digital projection, 2018

Head In The Cloud II

 

After being invited to participate in a show with other new media artists, I wanted to revisit this idea of “cloud technology”. Using real cloud footage, I invite the viewer to mediate on the “real” of surface vs the “digital” of projection. What is left when the pixels are gone? Cycling through cloud imagery, cloud imagery that has been run through pixel editing software, and absence of projection, the moving image is projected onto foam clouds cut out on a CNC router.

You can read about the show here.

MEDIUM: Digital Projection onto foam; Music by Bryce Wemple; Sound by C. Tornatzky, 2018

Head in the Cloud I

 

In making work this work, I sought out the grey areas of our digital world. Neither wholly positive nor wholly negative, the visible and invisible computers of our lives give us as many opportunities as they take away. Firmly planted on Earth, we can explore the cosmos; we can live in the cloud. We can travel to distant planets , we can talk to loved ones who are far away.

As ever, in making there is an uncovering; a turning over that reveals both sides of our digital existence. What does it mean when we are lost in space, lost in the cloud? What happens to our physical interpersonal connections? I find that peeking behind the digital curtain, the curtain that hides the cord gore and digital detritus helps to tie us to our earthly roots.

MEDIUM: Digital Projection onto foam; Music by Bryce Wemple; Sound by C. Tornatzky, 60″ x 48″ 2018

Reflection

 

As we gaze up into the sky, the moon reflects the light of a distant sun. What we think we see – the moon as a shining orb in our nighttime sky, is merely the sun’s rays finding their way into our darkness. Like Plato’s cave, the shadows and light that we think we know are merely distortions – what we think of as knowledge, but merely gained through personal opinion.

MEDIUM: Laser cut birch wood; Adafruit screens; media players, 2017

New Topographies

 

Space travel offers us hope for new possibilities, a new chance at Utopia. The technologies used in our dreams of exploration/plans for escape are the same used in the creation of new media artworks. The use of code, screens, and pixels sent from probes afield offer us a glimpse of topographies alien to our own. What would it be like to land on a planet made of diamonds? Of gas? The architectures needed for these landscapes must necessarily be different from our own.

Medium: milled foam; digital projection, 42″ X 42″, 2018