Finding his own niche between new media arts and conceptualism, Adam Ferriss creates unique digital coding that manipulates, distorts, and engineers images into psychedelic terrains. At times, his technicolor abstractions feel organic despite their technological roots – an ambiguous craft born of the RGB Tricolor separation process and pixel sorting algorithms he so carefully employs. Using these “procedural mechanisms,” Ferriss initiates iterative changes in light and pixel structure of his given source material – creating a literally infinite array of compositional possibilities that grapple with human perception during an era of ubiquitous manufacture.
Kurokawa then analyses, filters and distorts this data into an artistic rendering of an atomic space in which the laws of quantum mechanics would theoretically be visible. “The term ‘ad’ in the title means ‘to/toward’ etymologically as a prefix in words of Latin origin and ‘ab’ means ‘away from'”. he explains. “It is recombinant of neologism ‘adatom/abatom’ which means ‘to atom/from atom’, where the laws governing nature blur“.
Almost two hundred identical, small mirrors are arranged in a grid to form a flat, homogenous surface. Hung against the wall, the mirrors are closely spaced and apparently static; but they possess the ability to move in harmony with one another. Approaching the artwork, the individual mirrors turn together to face the onlooker, following as he or she moves. The plane of the surface distorts into varying, three-dimensional forms — perhaps a wave, or a curve, or a circle. The reflection becomes fragmented and the apparently inanimate object becomes akin to something organic and alive
Being self-lighted, at the same time that it rotates on its own axis, the object distorts that which it apparently seeks to represent. Therefore, the presence of an inner light, associated with the rapid movement produced by the globe’s motorization, is responsible for abstracting any border line. By fostering the internal luminosity of a planet, which is pure darkness, the work relegates the value of representation to a second level and gives rise to a set of ideas disconnected from the real. In this sense, Souvenir is a means of reconsidering in what way the demarcations that define the geopolitical scenario of this tiny globe are lost in the Earth’s infinite rotativity.
Embrace in Progress
Embrace in Progress explores conflicted feelings of shared intimacy. It is inspired by personal and cultural experiences where human contact is not commonly practiced in social interaction. The daunting and unfamiliar proximity of being captured in someone’s arms distorts one’s sense of time. The project was inspired by slit-scan photography and uses depth sensors to capture a series of intimate embraces. These 3D printed pieces recreate the act of embracing and are represented in a static form by the flow of movement twisted because of time.
Dinh Q. Lê
Memory for Tomorrow
Vietnamese American artist Dinh Q. Lê is known for his work in photography, video, and installation. He often splices, interweaves, and distorts photographs to explore his own relationship to Vietnam’s complicated cultural and political history. Lê’s family left Vietnam when he was 10; he has returned and now lives in Ho Chi Minh City (formerly Saigon).
MONOLITH is the title of French multimedia artist Reynald Drouhin’s latest art project which consists of a series of digitally manipulated images of stunning natural landscapes. In the middle of picturesque sunsets and serene Arctic landscapes, Drouhin pastes a mysterious prismatic shape and then flips it, thus creating a mind-boggling visual effect of an otherworldly transparent object hovering in desolate locations. The entire project is an ingenious appropriation of the famous monolith from Stanley Kubrick’s film ”2001: A Space Odyssey” where mysterious dark rectangular objects (dubbed as monoliths) were scattered across the solar system by an unknown alien civilisation which seemed to guide humans along a risky interplanetary journey. Reynald Drouhin’s MONOLITH series captures exactly the double nature of Kubrick’s monoliths: the inverted shapes in the photographs seem to be a window to another dimension, a physical anomaly which distorts the nature around it, and is both menacing and inviting.