Articulate Porject Space
Format: HD video (1080 x 1920 px), Stereo sound.
Th+s w:rk +s th/ d/m>t/r+>l+s>t+:n :f th/ d:c:m/nt>t+:n g>th/r/d fr:m my +nst>ll>t+:n t+tl/d D/-+nt/rl>c/d, pr/s/nt/d +n >rt+c:l>t/ pr:j/ct sp>c/ +n 2018. Th/ :r+g+n>l p+/c/ c:mpr+s/d :f 6 s:sp/nd/d >l:m+n+:m fr>m/s, wr>pp/d +n myl>r >nd f+n+sh/d +n p:ly:r/th>n/ m/t>ll+c spr>y p>+nts. D/-+nt/rl>c/d w>s +nt/nd/d t: b/ > r/fl/ct+:n :n ::r gr:w+ng +nt/rd/p/nd/nc/ :n t/chn:l:gy >nd th/ d+scr+m+n>t/ /ff/ct ::r +nt/r>ct+:ns h>v/ :n th/ w:rld >r::nd :s.
Th/ +d/> :f d:c:m/nt>t+:n +s :ft/n > m+r>g/, /x+st+ng v+rt:>lly >s > s/r+/s :f p+x/ls w+th > d+g+t>l sp>c/. F:rth/r, th/ +nt/nt+:n :f d:c:m/nt>t+:n +s t: c>pt:r/ s>l+/nt +m>g/ry th>t c:nv/ys th/ sp+r+t :f th/ +nst>ll>t+:n >nd h:ld +n st>s+s > n:st>lg+c m/m:ry :f +ts s:cc/ss; +t c>n n/v/r b/ th/ w:rk. Th+s c:nc/pt :f f>ls/ m/m:ry +nsp+r/d m/ t: d/gr>d/ th/ :r+g+n>l w:rk w+th > m/th:d:l:gy th>t c:nn/cts +t b>ck t: +ts :r+g+n.
+n th+s /xp/r+m/nt>t+:n, th/ d:c:m/nt>t+:n +s syst/m>t+c>lly /ncrypt/d >nd fr>gm/nt/d :s+ng m>t/r+>l s::rc/d fr:m >:d+: r/c:rd+ngs >nd v+d/: f::t>g/ c>pt:r/d w+th+n th/ /xh+b+t+:n sp>c/ :v/r f::r w//ks. +ts d/m>t/r+>l+s>t+:n +nt: >n >bstr>ct/d d+g+t>l l>ndsc>p/ r/fl/cts my :ng:+ng pr:c/ss t: w:rk w+th d+s+nt/gr>t/d m>tt/r, wh+ch +n s:m/ w>y r/fl/cts th/ h:m>n c:nd+t+:n.
This work is the dematerialisation of the documentation gathered from my installation titled De-interlaced, presented in Articulate project space in 2018. The original piece comprised of 6 suspended aluminium frames, wrapped in mylar and finished in polyurethane metallic spray paints. De-interlaced was intended to be a reflection on our growing interdependence on technology and the discriminate effect our interactions have on the world around us.
The idea of documentation is often a mirage, existing virtually as a series of pixels with a digital space. Further, the intention of documentation is to capture salient imagery that conveys the spirit of the installation and hold in stasis a nostalgic memory of its success; it can never be the work. This concept of false memory inspired me to degrade the original work with a methodology that connects it back to its origin.
In this experimentation, the documentation is systematically encrypted and fragmented using material sourced from audio recordings and video footage captured within the exhibition space over four weeks. Its dematerialisation into an abstracted digital landscape reflects my ongoing process to work with disintegrated matter, which in some way reflects the human condition.