Afterimage (2024), sublimation print on aluminum, 5x12 in.
[Still from a video as it was viewed on an iphone showing a blurry woman with long hair in
black and red inverted duotone.]
An Afterimage is the result of what is seen with eyes closed, inside one's eyelids, after staring at a
contrasted image for a least 30 seconds. Afterimage shows a still from a video where a disciple of
Rudolf Steiner’s, shares her
favorite morning meditation and breathing exercise. Anthroposophy is a spiritual philosophy that
takes echoing elements from the five major religions (Judaism, Christianity, Islam, Hinduism and
Buddhism) and assembles them into a set of teachings towards self-development.
Narrowcasting (2022), modified digital projectors, steel.
[In a white, lit room, three digital projectors mounted on steel stands point towards the walls and project flickering colored light.]
Narrowcasting refers to a broadcasting that targets a limited and
specific audience, rather than a large number. The exhibition presents a video installation of hacked digital projectors.
With the help of the YouTuber FixItFrank, the projectors have been modified to project their
inner mecanism. Inside a DLP (Digital Light Processing) projector is a wheel spinning at a high speed to which red, green and blue
color chips are attached. These colors compose the projected image; here, the wheel has been slowed down so that it
is possible to control the speed of rotation and make each color visible in the projection, one after the other.
The term narrowcasting is used here in literal sense; to cast light through a narrow opening. But to narrocast through
the hacked projetors is also an act of disengagement with mass media. Instead of mediating images, the projectors are
performative sculptural objects: no video is transmitted, only the light of host screens. In this moment of self-reference,
the projector projects itself and technology is slowed down to reach human perception.
Spiral Engineering (2024), Published by Quickbooks. Color book, 5 × 8 in., perfect-bound. See on Draw Down Books
If a Token Could Speak (2023), video projection, hologram mounted on wood, website.
[A video is projected on a rectangle wood panel placed at an angle in the corner of a dark room. The video shows an animated character facing us, and the background shows the POV of someone walking in the streets of New York. In the window of the gallery, a hologram mounted on a white pedestal shows a video where the characters of the video are shown in rotation, one after the other.]
The NFT departs from the traditional structure of the exhibition, which is often defined by a future
(announcement of the exhibition), a present (opening), and a past (archive). Instead, the work, its archive,
and its sale are flattened into a single experience. The NFT serves as an archive, and it is this archive
that is sold on blockchain markets. The works in the exhibition question the
status of the collectible object. In the video projection, an NFT celebrates the neoliberal tour de force of the blockchain, allowing
any low-quality image, downloaded, shared, and reformatted a hundred times, to gain the same value as a rare work of art.
A holographic video in the window serves as is an auction catalog, where all the elements of the exhibition
at have been registered on the blockchain as NFTs: the various stages of creation, the animated characters
of the video, the press release, and the exhibition documentation have all been given individual value and sold at auction.
Token Provenance (2021), video projections, inkjet prints, wood frames, LED lights.
In the NFT economy, images are often irrelevant; they serve as substitutes for the transactional context.
Paradoxically, NFTs are at the same time cryptographically
unique; they are not interchangeable. This paradox, coupled with the intangible nature of a new technology still
in the making, feeds the work Provenance, which explores the experience and the status of
the NFT in the context of the art world as well as its impact on notions of archiving. There is a distinction between two types of NFTs; one is a digital-born file, the other is a physical object that
has been digitized for archiving purposes. But physical or digital, blockchain reroutes the provenance of objects;
once made token, the NFT is born and its provenance is made digital. The works in the exhibition are derivatives
of their tokenized originals. In this context, the artwork derives from its archive.
Unknown Art Index (2020), Helsinki Contemporary Art Center. Color book, 5 × 9 in., perfect-bound.
