For more animations visit www.eatmydata.co.uk
Produced at IAMAS, Japan
is to create a series of independent animated mobile stories that reflect on how the individual has become increasingly isolated from physical interactions in an android networked and gadget orientated lifestyle. The individual is represented by a fat
man, a minimal representation of the human form free from characterisation and self determination. Its ability to operate, or do more than signify human form is activated through a consumer product.
These objects are trapped by their own internal logic and a database of actions. They are simple vignettes unable to relate to anything other than themselves. Consumer products, such as phones, computers and televisions set reinforce
the isolation and offer the means for the object to re-combine and loop through its own history.
The drawings would describe mechanically driven movements based on the rituals of everyday life. The visual treatment and programming reflects the mechanistic nature of routines controlled by time, queues and levers.
The drawings are constructed from simple black and white lines based on the visual language that I have developed over the last two years, see http://www.eatmydata.co.uk for examples of previous
work. The minimal visual style has been developed by the medium, computers can produce exquisite clinical lines not possible on paper but the style also contrasts the excess of visual imagery within contemporary culture.
of my practice
From October 6 to December 6 I was in residence on a European Media Artist Residency (EMARE) at Werkleitz Gesellschaft, Tornitz, Germany. This residency enabled me not only to produce
http://www.emptydays.co.uk but due to their extensive video library I was able to contextualise my practice within the history of experimental film. Two artists influenced my thinking on
the development of movement beyond the cinema. The first was Robert Breer's mutascopes, these are small kinetic sculptures similar in design to roladexes with cards fixed to an axis and stuck to a base. He was making these at the
same time as Len Lye and Nam June Paik were also experimenting with the presentation of persistence of vision as independent objects. The second was Moholy-Nagy. I visited the bauhaus archives in Berlin and was fascinated by Moholy-Nagy's
kinetic sculptures. Both artists are concerned with composition through time and explore the use of repetitive cycles and re-combinative loops as public sculpture.
By developing my work for PDAs it extends this tradition of the film makers' desire to move beyond the theatre and explore the idea of movement within a public space. The cinema dictates a linearity to a seated audience full of expectations.
Audiences in public spaces are more ephemeral and their gaze wonders around the environment. This is a different expectation to the focused attention of theatre goers. In a public space a three minute narrative would be lost or
maybe glimpsed by only a few whereas a repetitive series of loops would reflect the nature of a wondering gaze.
Giving the animated objects a physical form is an important part of the project. Instead of taking away the screen, it’s about making it very present. Instead of encouraging the viewer to suspend disbelief, it’s about
showing the monitor as a physical object, which like other objects in galleries and museums plays a role in transmitting ideas and values.
The single large projection makes the statement "this is important and you must concentrate on this series of events and in this order". By screening the animations on small screens inside their own technological border,
that of the PDA, and within a body of work the statement reduces the importance of each object. It is just one of many. The whole statement cannot be trapped within one person's field of vision or comprehended as a single object.
There have been many films that have dealt with split screen narratives, most notably rybcinski's new book where nine cameras fixed at different geographical points track the progress of a book as it passes between different characters.
But it still follows a linear narrative within the same picture frame. i would like to experiment with presenting movies as independent objects that can only be linked through visual association, by the audience scanning the wall
and determining their own order of events. The objects would be presented in their own device, that is the viewer will be able to see that the work is being screened on a small computer which will reinforce the individuality of
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