Five cones and a bag of sand
Concrete, plastic, masking tape.
Silicon, steel, plastic, arduino, motors, Xerox prints.
As the new generation are hypnotised by LCD screens, social media platforms and game spaces, our minds have been opened up to the matrix of the network, which is reigniting the minds of many of us with ideas of magic, mythology and folklore. It seems poignant to investigate image-making as an amalgamation of technology and biology in this new hyper reality.
The highly saturated scan pasted onto one wall flickers between associations of deeptime and the digital - a render of a non-specific terrestrial landscape - a subverted romance of the current ecological breakdown unfolding within the strange pixelated texture. The stress of digital manipulation crystallises colour into scattered colour blocks - a malfunction, a glitch, a symbol that pieces together fragments of information.
Weather data from the last fifty years plays through the small anemometer, from the same site the image was taken, whilst on the other side of the room a synthetic skin curled up on pink insulation foam and a uv lit toad question what future creatures will be and how they will exist, plugged into luminescent drips with a slow glow breath,
these creatures are deceptive, like cotton candy or bubblegum it is sickly sweet with a toxic afterlife.