This work is to explore the static performance of memory in dynamic time. My friend is the protagonist in the photo, and what is recorded is a conversation between me and her about memory. This is the memory of a conversation between me and her from my viewpoint, the expression and documentation of the memory in the present time. For her, it is the experience she recalled in the past, and the memories that happened in the past are recorded through her facial expressions. The feelings you have when you see this work are memories that happened in the future.
Duan, JX. (2021) I think what I think [oil painting].
150 x 140 cm
Camberwell, London
Sort of images of work in a gallery situation
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Ken Okiishi, Pilar Corrias, Mixed MediaAcrylic paint, epoxy, 2-way acrylic mirrors on flatscreen televisions, feedback .mp4 files (colour, sound), 107.4 x 61.9 x 5.1 (cm)
42.3 x 24.4 x 2.0 (inch)
Ken Okiishi
I found that there are some connections between our project and Ken Okiishi 's works, his works hover over and within relationships between matter and memory, perception and action, image networks, and media systems. He generates moments when language and images begin to fall apart, inciting glitches that illuminate spaces to produce something other than what has already been. And our project also discusses nostalgia for the immature era of image transmission technology and pays tribute to that era in a way of restoring ancient ways. With the continuous development of electronic technology, this kind of data corruption phenomenon will be less and less, the feeling of the real world and virtual world will be closer and closer to our age all the way of image processing in the future may become the new art of Glitch.
In a world where easily circulatable image files of artworks have become interchangeable with, or even more present as the artwork than the physical work itself, there is often a feeling of seeing an artwork in person as a simple identification within a mentally plugged-in database.
'There is an urgency, at the moment, in our ever-tightening range of feelings in visual experiences, that artworks make us aware of the multiplicity of different modes of seeing and feeling, and that those differences are made distinct and distinctly material.' (Ken Okiishi,2015)
What tools have Ken Okiishi rejected?
'I reject all “pure” tools since those fail to bring the viewer to life. (The viewer, for me, is an automaton that can become a “real human.” I like this old-fashioned image of the robot—the automaton—because it is still so easy to project feeling into its eyes. Have you seen these cheap robot dogs they sell at flower stores, that have these very tender eyes? It’s amazing how, no matter how low- or high-tech a robot is, it has to have these basic mechanistic movements on some level, and these tender-looking eyes or it looks absolutely emotionally impenetrable. The way certain overly-rendered animations have the slickness of the screen they are watched on as if the skin of everything depicted is impervious to communication—certain machines have that presence in real life. I reject emotionally impenetrable machines as well.)'
Reference:
What new or old tools are you attached to in your art practice? (2015) the Brooklyn Rail [online] Available at: https://brooklynrail.org/about?h (Accessed 25 May 2021)
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Michael Staniak - Untitled, 2014
Michael Staniak
Michael Staniak's work oscillates between a sensation of a flat, screen-mediated image and the rich texture of an analog painting. And Joan Jonas's work retells fairy tales and myths from a fresh perspective, creating emotional and visual landscapes which tune into our subconscious experience of the world.
For me, the sense of Deja vu is not just our memories of one place, it is a phenomenon produced by the interweaving of multiple different memories in our minds. Therefore, the Deja vu perception can be said to be the repeated and shared image in our minds. As Kahng argues 'Using his own long experience as a historian of non-Western antiquity, Kuber sought to resurrect the merits of form as a legitimate and more "objective" means of finding the shape of time, which, as he argued, is made visible only through reiteration and rupture: a material syncopation or prolonged rubato still graspable in 'The History of Things' (a phrase that he used to qualify the title of his book).' (Stephen, B.; Eik, K., 2007)
Reference:
Stephen, B.; Eik, K. (2007) The repeating image: multiples in French painting from David to Matisse. French: Baltimore: Walters Art Museum.
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Travess Smalley, excerpt from Book 5 - Vector Weave_Dec 30 Actions 2013 (2014)
Travess Smalley
Another artist Travess Smalley also explores a new art form in the real and virtual world, which akin to my project. His work aims at creating an experience “where the viewer’s visual vocabulary just draws a blank and they can no longer distinguish the digital from the real.”
Travess Smalley: I don’t necessarily see my work as referential. That’s one way of viewing it but it’s only a small part. I’m more concerned with color, form, texture, and the shifting optics of physical and digital viewing. I don’t particularly see myself as working from a post-conceptual art lineage. The artists that inspire me the most come from an earlier era or are concerned with issues that have been ongoing in art since romanticism. It’s that I bring this attitude to the digital that brings me into the sphere of current internet art practices.
I think about abstracted interfaces and framing as different modes of perception. Let’s focus on the ways that people view things on a daily basis. We have the immediate perceptual viewing of just opening our eyes. Then there is the architectural framing of our rooms and the windows that allow us to differentiate the world from our private space. And then there is the interactive frame of a laptop or portable device that we quickly reach for after waking. All three of these perceptual lenses construct our reality. And all of these frames can be altered. But it is through the digital frame that fictional and unreal narratives usually play out. Our brains are quickly able to switch understanding depending on what frame it believes we are focused on. This trust we have in frames is interesting. I like to imagine the kind of bleeding that can happen if a person was not immediately able to perceive the area around their laptop screen as any different from the laptop itself. (PECKHAM)
Reference:
Stephen, B.; Eik, K. (2007) The repeating image: multiples in French painting from David to Matisse. French: Baltimore: Walters Art Museum.
PECKHAM, R. TRAVELS SMALLEY: PHYSICAL MEDIUM, DIGITAL TRADITION. [Online].
Available at:http://digicult.it/news/travess-smalley-physical-medium-digital-tradition/ (accessed on 23 May 2021)