The Skinning of Memory (VP2) / 2010
Machine and human have begun to fold onto each other. In turn, this has created what I refer to as a ‘second skin’.
The Written Word
Project-X Installation Series (2006-2008)
The possibility exists for the merging of technology and art, so that the artist and observer both interact within the event, and/or in the creation of the art object.
A Word About Technological Chimeras
Memory transcribed as information – electronically and digitally – I believe, extends the sense of self and identity, and in so doing, may initiate a desire – personally and communally – to exchange physical identity in favour of a virtual one and in turn trigger the possibilities of technological chimeras.
Quantum. Dystopias.
∝ I sit and stare at a fixed point in space. this space is abstract. made up of millions of possibilities. of atoms. of light. and numbers. the longer I stare, the more fixated I become.
The Reorganization of Memory
The introduction of digital technology shifted the way memory imprints were stored and accessed.
Me/di/at/ed
Me/di/at/ed – Naccarato: We occupy space and there seems no getting around it. For the most part, our occupation of space revolves around prescribed rituals – performative and repetitive actions which define our personal, social and cultural identities.
The Skinning of Memory: Up Close and Personal
In photography, we see nothing. Only the lens ‘sees’ things. But the lens is hidden. It is not the Other, which catches the photographer’s eye, but rather what’s left of the Other when the photographer is absent (quand lui n’est pas la)” (Baudrillard.)*
The Skinning of Memory: Mediating The Real
TThe ‘collapse’ of memory I use as a metaphor for the collapse of the certainties of the past by a media that can paradoxically create and recreate an apparently certain past through their command of visual images, which are both part of the landscape of modern life and the very essence of human memory. (A. Hoskins)
The Skinning of Memory: Vertebrae, Part 2 (VP2) Influences
(I) wanted something other than what I could make myself and I wanted to use the surprise and the collectiveness and the generosity of finding surprises. And if it wasn’t a surprise at first, by the time I got through with it, it was. So the object itself was changed by its context and therefore it became a new thing” Rauschenberg