I am interested in infinity in its many manifestations – from humanity’s historical inquiry of the notion to its relevance in the age of exponential technological advances. Infinity suggests the presence of a realm beyond our reach; yet our comprehension of the concept relies on that which is within our reach - an infinite number of an entity relies on the foundational comprehension of what one unit of the entity is. Infinity is hence a fascinating embodiment of reasoning meets imagination; materiality meets abstraction, and a bridge between the real and the imagined.
Each of my series tackles a sub-inquiry of infinity. Do we crave for the possession of truth, or as Gotthold Ephraim Lessing puts it, the “sincere exertion to get to the truth?” What’s behind humanity’s craving for immortality, and what properties does timelessness have? What do the Singularity, and concepts in artificial intelligence reveal about the evolving relationship between humanity and the act of Creating?
In the past decade, there has been a surge in creative coding tools, democratizing artists’ capacity to build interactive installations using data - which could be broadly defined ranging from real-time positions of the viewers in relation to the artwork, to audio files of sounds collected during space missions.
Of Vanities and Beyond the Invisible Cites are attempts to use the shared and contrasting properties between oil on canvas and creative coding as a window to investigate the effects of automation and artificial intelligence have on the nature of art. The two mediums have contrasting relationships with the ‘infinite’, one distills things down to the essence and let the essence speaks an eternal truth, the other’s relevance depends on data being constantly updated.
La Technologie pour la Technologie is a work-in-progress series that juxtaposes motherboards with oil-paint, drawing parallels between the use of "form factors” in the creation of motherboards, and the attempted standardizing of colors in the creation of paint. The series draws heavily from Walter Benjamin’s "The Work of Art in the Age of Mechanical Reproduction”, which includes a quote by Paul Valery that aptly captures my interest in the topic:
“In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and over. […] We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art” - Paul Valery, Pieces sur L’Art, 1931; Le Conquete de l’ubiquity.
Using tools and techniques in oil-painting and creative coding, I hope for my work to raise questions about the state of contemporary art by carving out a space for dialogues and confrontations between the two mediums.