Charles Sandison
02 Mar - 14 Apr 2012
CHARLES SANDISON
2 March - 14 April, 2012
There are too many ideas in play amongst these works to suggest that any one of them has a fixed meaning. Rather they are thought process externalized and permitted to exist in 'real-time' by virtue of the contemporary micro-computer.
I do not use the computer in a utilitarian way, (for example in the way a video artist would treat with indifference the composition of software that controls the camera - how video created by an artist is often done with celluloid film in mind but never realized). I specifically investigate the technological mechanisms that allow such technological systems to exist and why, what does their presence mean and how does it change our world view.
To create a language, a poetry , ‘a philosophy for the phantasm’ (Deleuze) to describe our relationship with our technological souls.
In a gentle gesture to the requirement of electricity for their continued existence the projections are situated near their power sources at a distance determined by the length of their power cables. Like digital animals in a zoo they are tethered to the walls hidden in various corners at floor level (they have feet). The gallery a prison.
The works have been installed to be visible in natural light, their presence changing with varying light levels. There is no 'correct' condition for their existence. They are after-all waves of light.
As an artist often using language these works are an investigation into the different forms language can occupy. Color within the matrix of a computer is not color. It is a code #FFF – white, #000 - black, which is a word.
2 March - 14 April, 2012
There are too many ideas in play amongst these works to suggest that any one of them has a fixed meaning. Rather they are thought process externalized and permitted to exist in 'real-time' by virtue of the contemporary micro-computer.
I do not use the computer in a utilitarian way, (for example in the way a video artist would treat with indifference the composition of software that controls the camera - how video created by an artist is often done with celluloid film in mind but never realized). I specifically investigate the technological mechanisms that allow such technological systems to exist and why, what does their presence mean and how does it change our world view.
To create a language, a poetry , ‘a philosophy for the phantasm’ (Deleuze) to describe our relationship with our technological souls.
In a gentle gesture to the requirement of electricity for their continued existence the projections are situated near their power sources at a distance determined by the length of their power cables. Like digital animals in a zoo they are tethered to the walls hidden in various corners at floor level (they have feet). The gallery a prison.
The works have been installed to be visible in natural light, their presence changing with varying light levels. There is no 'correct' condition for their existence. They are after-all waves of light.
As an artist often using language these works are an investigation into the different forms language can occupy. Color within the matrix of a computer is not color. It is a code #FFF – white, #000 - black, which is a word.