[PROMPT: Where else—whether in a piece of writing that you find outside of the reading list, or in someone else’s creative practice—can you find evidence of a similar or opposing position?] I looked to the work of artist Lawrence Lek initially as a point of reference for the utilisation and presentation of ideas through virtual… Continue reading 2-8: WRITTEN COMPONENT 3
Category: Unit 2
2-7: WRITTEN COMPONENT 2
[PROMPT: How are positions most effectively developed and demonstrated? Discuss this in relation to a creative practice or text. Then explain how this has helped you think about developing your own emerging position.] American performance artist Andrea Fraser is considered something of a luminary of a so-called second generation in the Institutional Critique movement. Her… Continue reading 2-7: WRITTEN COMPONENT 2
2-6: HETEROTOPIAS IN SEQUENCE
Each of the rooms of my gallery simulation are designed in isolation. In a sense, they are wholly individual ‘worlds’, connected only through the game’s mechanics — passing through a ‘door’ will bring the viewer to another, randomly selected room, with no repeats occurring until every room has been viewed at least once. Each iteration… Continue reading 2-6: HETEROTOPIAS IN SEQUENCE
2-5: GAME WORLDS AS PARTICIPATORY SPACES
In previous writings I alluded to a case for the video game or simulation to be considered a unique form of artwork in that the medium is detached in some way from lived experience (see 2-3). This is not to discount the medium’s ability to bring together art and life, as the likes of composer… Continue reading 2-5: GAME WORLDS AS PARTICIPATORY SPACES
2-4: DIGITAL HETEROTOPIAS
RE-CREATION / MODIFICATION The next stage of my project began with the creation of a 3D model of a single-storey gallery building. Void of any contents, patrons or other components related to the gallery experience, it was intended as a purely ‘physical’ means to an end for virtually simulating the rules of a ‘white cube’… Continue reading 2-4: DIGITAL HETEROTOPIAS
2-3: EMBRACE OF SEPARATION
I began my visual experimentation process by constructing a simple 3D environment in Unity; white forms against an impossible sky, in a composition vaguely resembling a series of rooms. A viewer or ‘player’ is able to move through the rooms and observe them from a first-person perspective; each contains different objects, ranging from simple shapes… Continue reading 2-3: EMBRACE OF SEPARATION
2-2: BETWEEN ART AND SPACE
BETWEEN ART AND SPACE Six transparent glass panels, held together by a reflective stainless steel border, sat under heavy light atop a pedestal in a white-walled, laminate-floored room in a campus gallery building at the University of California Irvine. In the September of 2018 I spent eight hours with the glass cube; an untitled 1972… Continue reading 2-2: BETWEEN ART AND SPACE
2-1: WRITTEN COMPONENT 1
REFLECTION Throughout previous projects a concern with investigating rules emerged naturally within my iterative processes. When contemplating digital ‘space’ in particular, I have focused on the notion that by using particular platforms or merely engaging within their boundaries, an individual is subject to the often uncontemplated force of rules; pre-designed conditions for use to which… Continue reading 2-1: WRITTEN COMPONENT 1
2-0: 100 LIVES
This collection of 100 frames displays 100 unique states created by a rule-based cellular automaton, built on the foundations of Conway’s Game of Life. With this project I sought to pursue further investigation of the concept of ‘unseen rules’ and the role of pre-designed conditions for use that exist in the spaces we inhabit, particularly… Continue reading 2-0: 100 LIVES