107 Projects Redfern
5 – 16 Feb 2020
With current climate trends and emerging technologies we face a largely unknown future. As artists and as members of the species responsible for these changes, we will present in-progress visual artworks connecting with these themes. We will engage in dialogue with community about these themes and our in-progress works. What might our world look like in the future? How will artificial intelligence change the nature of work? Will our species – and the planet – survive?
Artists: Luke Nguyen, Gloria Obbens and Daisy De Windt.
Daisy De Windt
SAFE/SPACE, 2020, live security camera video feeds, analog monitors, dummy security cameras, digital video, gazebo, chair.
A concept born a decade ago, SAFE/SPACE explores the psychology of existing in a space of hyper-surveillance: where our every move is being recorded, monitored and analysed. In such an environment, can a space within that space provide some respite?
SAFE/SPACE invites the spectator to walk through a space of camera surveillance equipment and live video feeds, and to then enter a “self-expression room”: a space-within-a-space that allows the spectator to relax and express themselves however they wish, without threat of surveillance or judgement.
What does the spectator experience, moving from hyper-surveillance to non-surveillance? Do they feel they can relax? Do they become more aware of the spaces in their own lives that contain surveillance and those that do not?
Referencing themes in Orwell’s 1984 and Harari’s Homo Deus, SAFE/SPACE questions our ability to self-express in a world full of monitoring: not only via security surveillance but through our increasingly public lives.
What lies in our future? Will our spaces for self-expression shrink over time?
“Nothing was your own except the few cubic centimetres inside your skull.”George Orwell, 1984
Daisy De Windt was born in Sydney Australia in 1982. She works predominantly in video and installation, however her chosen medium depends on the concept she is working on at the time. Daisy’s work is concerned with society-at-large: particularly the human experience within and without. She is fascinated by the mind: its limitations and potential, and her work questions everyday norms and societal expectations, whilst attempting to engage visually and emotionally with the spectator. Daisy lives and works in Newcastle.
- Cardboard Cinéscope: Doomsday Dodo, 2020, Cardboard archive box, wood, plastic, pianola roll, hand drawn cartoon
- Kaleidoscope: Fire! Fire! 2020, Cardboard, paper, mirror, gel filter
- Peep Box: Dance of Oblivion, 2020, Recycled wood and leather photographic enlarger, digital film: collaged images from 1950s children’s illustrated encyclopaedia, Photoshop frame animation
Working with paper, recycled objects and digital media, Gloria McGrath plays with pre-cinematic animation techniques to explore the limits and possibilities of simple visual narrative. The ‘story boxes’ in FutureWorld resonate with the shared shock and fear of recent months, telling a tale about extinction, past present and future.
Silent Heads, 2020, digital video projection
Ässalamu läykum (Hello)
Mining ismim (My name is)
Uyghur is a Turkic language, spoken primarily by the Uyghur people, an ethnic minority group in Xinjiang, China.
Silent Heads is a work in progress, examining the concept of surveillance, an attempt to deconstruct Surveillance from its highly computerised and sophisticated technologies being used contemporarily. This includes, but not limited to Artificial Intelligence (AI) – capable of self-learning; obscured computer algorithms – computing and analysis an individual’s gait and high-resolution cameras – that can clearly identify an individual hundreds of meters away.
This is an uneasy reality that we are living in. For most, beyond our capability to understand the technologies involved, we have grown desensitised to a complex and crowded world of perceived digital chaos, quietly accepting our lack of understanding as a norm. Just like in Silent Heads, our lips are moving but we are muted.
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Photo credit: all photographs shot and edited by Daisy De Windt.