Digital images, dimensions vary. 2-3/2017.
Shown at the University of Sydney's O Week exhibition, 2/2017.
Used by Sydney-based musician Henri Asar as album artwork for HORA001, 6/2017.
From a talk on my work presented at Sydney College of the Arts, 4/2017:
'Key terms for discussing my present investigation are feminist, nature, digital, and landscape. ‘Feminist’ describes things that engage with ‘theory or organized activity on behalf of women's rights and interests’ (Merriam-Webster). ‘Nature’ describes ‘the phenomena of the physical world [...] as opposed to humans or human creations’ (Merriam-Webster). Postnature describes things that exist after the distinction between humans and everything else has been declared over, i.e. “nature” is over. ‘Digital’ with reference to art means ‘using computer media.’ Postdigital with reference to art describes art that exists after ‘digital’ has become a default mode of art creation, no longer identified for its novelty. ‘Landscape’ with reference to art refers to renderings of scenes.
'My field of studio practice is photomedia: I build machines to distort images. My field of theory research is mostly art theory, also informed by philosophy and critical geography. My question is: Can postnature postdigital feminist landscapes exist? (Can those aesthetics coexist, or must we change the terms of one or more of them before that is possible?) I am seeking to answer this question as it will help me develop a more coherent “voice”, which has been a longtime challenge for me working across multiple disciplines and with disparate fields of reference. This investigation is a continuation of established lines of inquiry that I have only recently begun intersecting.
'Texts that have influenced my investigation include Hito Steyerl’s "The Spam of the Earth: Withdrawal from Representation,” in which Steyerl discusses visual representation as capture, a form of oppression, and discusses invisibility as power in the digital era. Steyerl’s discussion of the politics of imposing narratives upon the subject(s) of an artwork without seeking consent, or in the case of nonhuman subjects, without the ability to seek consent, has been influential in my consideration of the ethics and politics of landscape art.
'Another text that has influenced my investigation is Slavoj Zizek’s "Censorship today: violence, or ecology as a new opium for the masses," in which Zizek references Francis Fukuyama’s assertion that nature no longer exists, as part of his exposé of ecology as capitalist neoliberal anthropocentrism. This text supplements my hypothesis that landscape art as we know it cannot, as an aesthetic, cooperate with postnature and feminist aesthetics.
'A third text that has influenced my investigation is Andrew Culp’s "Confronting connectivity: feminist challenges to the metropolis,” in which Culp argues for acknowledgement of the threats posed by connectivity and information technologies, for example corporations’ ability to stratify users according to their ideologies with immediate real-life consequences, discussing urban feminist art as one example of cultural resistance against mandatory urban connectivity. Feminist artists’ treatment of bodies and geographical locations as comparable and equally fertile sites for territory disputes and reclamation is a practice I am identifying and engaging with through my work.
'the pass is one of my most recent works, which I created using the same rendering iOS app as Caesura and my RGB coded landscapes. Adjustments to the app’s programming have afforded me more control over its output, so I can now consider composition while using the app. More control means more human intervention and less of an AI influence; I am not yet sure whether I am happy with this, and want to pursue this direction.'