Teknovisuell Experience, 2015 – 2017, Public Installation, Detail #5, Otis College of Art and Design Admissions Office, Los Angeles, California, 2016. The artwork engages the relationships of body & space to image technology through the clarity of perceived images. Imaging processes displace and reform pigments and images, creating fuzzy borders. The Teknovisuell Experience series represents images of water as aesthetic and ethical qualities technology raises in our societies in the Virtual Material works including Mouvements, Teknovisuell Experience, Sonidos, Ultraviolet Forest, videos, and installation artworks such as prints, projections, wall coverings, acrylic prints, garments. Contact: email@example.com
Teknovisuell Experience involves several layers in the materiality of the image, systems, and processes in imaging, the vision-body relationship, and ways civilizations form understandings of nature. From an empirical, materialist philosophical standpoint, the works reflect on age-old discussions between Platonic and Sophist ideas, and the places spiritual and scientific ideas are permitted. Through the emphasis on the ethereal nature of screen-based technologies, the Teknovisuell Experience Details take up these conversations both through the processes in which they were created and in the results of the viewers’ interactions and memories with images. By engaging the physical body with the vision, the distance in viewing engages viewers’ bodies in the opportunity to look at processes otherwise invisible to users of screen-based technology, but evident to builders of technology such as R&D, the coder, manufacturer, and marketer. The details in Teknovisuell Experience were composed of the decomposition of images up and downloaded through social media channels; 7 times for each image. The final images reconstitute a representation, highlighting the way images become a form of cultural ritualization. By further manipulating the image to highlight degraded visual qualities, and print at large scale or clip sections out as fragments, the various installation formats available engage viewers in contemplation of the areas in an increasingly liquid society. The scale and application of the image evoke motifs and patterns found in traditions of totems and textiles. Still images are applied as wall coverings, pillars, scrolls, or flags. Digital gifs of the images afford exhibition on screens and move static light reflections, creating visually ghostly movements.