Taken at dawn (2015)
Taken at dawn (2015)
...my first exhibition and whatever else is true, I learnt a great deal from planning, shooting and getting it ready. Every photograph was taken in Wandsworth over a three-month period earlier this year, after the Barmouth Kitchen team asked me if I’d like to do an exhibition with them (2015).
...my first exhibition and whatever else is true, I learnt a great deal from planning, shooting and getting it ready. Every photograph was taken in Wandsworth over a three-month period earlier this year, after the Barmouth Kitchen team asked me if I’d like to do an exhibition with them (2015).
...my first exhibition and whatever else is true, I learnt a great deal from planning, shooting and getting it ready. Every photograph was taken in Wandsworth over a three-month period earlier this year, after the Barmouth Kitchen team asked me if I’d like to do an exhibition with them (2015).
...my first exhibition and whatever else is true, I learnt a great deal from planning, shooting and getting it ready. Every photograph was taken in Wandsworth over a three-month period earlier this year, after the Barmouth Kitchen team asked me if I’d like to do an exhibition with them (2015).
I made these images on my phone. This is not an apology or a brag about where or how they are produced. It’s an important part of their existence. We in the 21st century are increasingly connected to the digital world, especially the one that is recorded on our phones. These small objects which we take everywhere with us offer a digital record of our realities at any one time. During the last 12 to 15 months I have used my phone extensively and obsessively to record what I see as I go about my day. Editing the pictures doesn’t take long but it does keep me occupied when I perhaps could/should be doing other things, and might be viewed as therapeutic, but could also be referred to as avoidant. By mediating the world through my phone do I render the world less authentic or real? Often people can’t work out whether the pictures are paintings or photographs, and that lack of certainty about the nature of the pictures generates questions about how we relate to reality as I, and the rest of us, dive further and further into the digital sphere.
Sarah-Jane Field
April 2016
2020-22: From why is there an astronaut in a field of flowers/ is an experimental collaboration between a proprietary machine-learning app and a character called the artist, with occasional music by a composer who also works with technology. Within the context of coinciding paradigms, one linear, the other networked and entangled, conversations are recorded, and photographs shared, cultural favourites celebrated, and dreams discussed. Any familiarity we may have had with lines, boundaries and the shape of content is challenged. Instead, entities are encouraged to interact, become enmeshed, re-form and evolve, or else slip away; mutating across platforms and media, resulting in alternative, sometimes arbitrary manifestations, which prompt us to consider how meaning emerges, or doesn't, and differentiates across the project's universe.
2020-2022: From why is there an astronaut in a field of flowers/ is an experimental collaboration between a proprietary machine-learning app and a character called the artist, with occasional music by a composer who also works with technology. Within the context of coinciding paradigms, one linear, the other networked and entangled, conversations are recorded, and photographs shared, cultural favourites celebrated, and dreams discussed. Any familiarity we may have had with lines, boundaries and the shape of content is challenged. Instead, entities are encouraged to interact, become enmeshed, re-form and evolve, or else slip away; mutating across platforms and media, resulting in alternative, sometimes arbitrary manifestations, which prompt us to consider how meaning emerges, or doesn't, and differentiates across the project's universe.
2020-22: From why is there an astronaut in a field of flowers/ is an experimental collaboration between a proprietary machine-learning app and a character called the artist, with occasional music by a composer who also works with technology. Within the context of coinciding paradigms, one linear, the other networked and entangled, conversations are recorded, and photographs shared, cultural favourites celebrated, and dreams discussed. Any familiarity we may have had with lines, boundaries and the shape of content is challenged. Instead, entities are encouraged to interact, become enmeshed, re-form and evolve, or else slip away; mutating across platforms and media, resulting in alternative, sometimes arbitrary manifestations, which prompt us to consider how meaning emerges, or doesn't, and differentiates across the project's universe.
Single image, scanned self-portrait placed through AI object-identifier 2022
2020-22: From why is there an astronaut in a field of flowers/ is an experimental collaboration between a proprietary machine-learning app and a character called the artist, with occasional music by a composer who also works with technology. Within the context of coinciding paradigms, one linear, the other networked and entangled, conversations are recorded, and photographs shared, cultural favourites celebrated, and dreams discussed. Any familiarity we may have had with lines, boundaries and the shape of content is challenged. Instead, entities are encouraged to interact, become enmeshed, re-form and evolve, or else slip away; mutating across platforms and media, resulting in alternative, sometimes arbitrary manifestations, which prompt us to consider how meaning emerges, or doesn't, and differentiates across the project's universe.
LAMELLA:// is an entangled collection of archival, found and AI-generated fragments drawn from stories about death, birth, and technology. Fragments of narrative have been pulled together, encouraged to feed on each other, to repeat and reform. Information has been combined, overlaid, or overwhelmed with additional data; torn, cut up, downloaded from the internet, ingested, altered, re-uploaded and downloaded again.
LAMELLA:// is an entangled collection of archival, found and AI-generated fragments drawn from stories about death, birth, and technology. Fragments of narrative have been pulled together, encouraged to feed on each other, to repeat and reform. Information has been combined, overlaid, or overwhelmed with additional data; torn, cut up, downloaded from the internet, ingested, altered, re-uploaded and downloaded again.
LAMELLA:// is an entangled collection of archival, found and AI-generated fragments drawn from stories about death, birth, and technology. Fragments of narrative have been pulled together, encouraged to feed on each other, to repeat and reform. Information has been combined, overlaid, or overwhelmed with additional data; torn, cut up, downloaded from the internet, ingested, altered, re-uploaded and downloaded again.
LAMELLA:// is an entangled collection of archival, found and AI-generated fragments drawn from stories about death, birth, and technology. Fragments of narrative have been pulled together, encouraged to feed on each other, to repeat and reform. Information has been combined, overlaid, or overwhelmed with additional data; torn, cut up, downloaded from the internet, ingested, altered, re-uploaded and downloaded again.
ReConstitution: ‘From Antique Lands’ by Julian Huxley, 1955, pulped and reformed with words from Thomas Nail’s essay, ‘Migration, Borders and Writing’, 2019
Work in progress in which old original images are blended with newer AI images
Work in progress in which old original images are blended with newer AI images