What’s the word for the sound of infinite scrolling?


The work looks at machines looking at us – looking, tracking, categorising, talking about humans behind our backs. These machines create biased data portraiture of advertisement markers that are interpreted in clusters. A gentle hover over a post by a user, causes another marker to be added. They are building memory storage of social media activity, adding words that are not known to the user but are indicators for other machines of the activity carried out. Algorithms built by humans talk to other algorithms through our tracking history, categorising, simplifying our complex selves to words that when analysed by different algorithms indicate our mental state, our concerns and our political preferences. We are the data, the 21st-century gold — gentle scrolling ads to the wealth of the machine owners. In a way, we are always at work for them.

Taking instagram advert markers from January 2018 until December 2019 from my Instagram account and exporting them to be analysed via Cambridge University’s Psychometrics Center website in equal parts, with that creating psychological profile of a person I was in slices. This research is what Cambridge Analytica based their data collecting model on. The tablets display the results of my character analysis swinging between altruism and selfishness, neuroticism and conscientiousness, displaying my moods and unconscious activity. Communicating about my character in words I also use but can not understand.  

Laser printed textile 4 m x 1.60 m ;
8″ tablets, animation vertical 20 sec, HD


Google Receipts (2019)

This work materialises online browser data via a receipt printer, finding an analogy in consumer transactions. Our browsing data is increasingly being transformed into a commodity that is bought and sold by big businesses,
instead of its original use as a record of private online activity for our own use. Our browser history is where the mind is manifested. These same inscribed manifestations are also valuable consumer data, traded for marketing and surveillance purposes. Google receipts materialises digital non privacy by printing out each line of the artist’s browser history every day for the duration of the exhibition to be
viewed by anonymous strangers – free of charge.

Receipts printer
Raspberry PI 3
Thermal paper

30 cm x 15 cm x 150 cm
(unique)

Flawed Object (2019)

 

A broken screen makes visible this mediative device that lies between the machine’s output and our eyes; its failure to act as a transparent window renders this role visible, making us aware of our cognitive immersion into a digital realm. Similarly, damaged glasses remind us that there is a (now flawed) intermediary between us and the visual world. Eye floaters are reminders that our eyes themselves are a sometimes flawed medium through which we experience the world. No visual perception is received in a pure form, we must utilise a number of filters to have a visual experience. This work looks at imperfections in visual transmissions and the subsequently increased visibility of the mediating technology in these cases

4.5 ” mobile with a cracked screen,
7″ tablet with a cracked screen,
USB cables, 3m x 2 m projector,
UV printed chiffon fabrics 2.40 m x 1.60 m,
metal polls 1.6 m
HD video 2:15 min

3.20 x 2.60 m x 10 cm

Flawed Object (video)

Flawed Object (detail)

The Tension of things unsaid (2018)

 
The project is a semi-forensic analysis of psychological tension in celebrity photographs. The research spans across cases of sexual harassment, kidnappings and personal encounters (submitted online as a response to my call). The work looks at photographs of people of before one of them was accused/found out of abusing

the other. But also the work looks for imagistic traces of tension on a footballer’s face during a match that he played with a knowledge that his father was abducted at that moment.

The analysis explores a cognitive dissonance between the text and the image and follows the traces of the inner tension that are cemented over with a practiced smile to be photographed with someone with whom one shared a violent history.

The video search for the mental leftovers of the harassment looks into the scene of Transparent season 2 episode 3 filmed just after the leading actor Jeffrey Tambor harassed his co-actress Trace Lysette. The video is juxtaposed with the Lysette’s statement.

The installation creates a tangible presence of intertwined codependencies that interrupt the room is the center of it and simultaneously are such that have unwittingly to be considered when being in the space. Like a personal secret – the undisclosed is a scattered network of interconnected factors having little volume but occupying a large part of a space, whether mental or physical.

 

(50 m string, Images, Video, 2:20 min, Ikea chair, weathered rock, text)
@Listastofan, Reykjavik, IC (2018)

An area of some importance (2019)

My research will juxtapose the nomadic state of my family and their search of a new life in Kazakhstan and southern Siberia with the space race (the ultimate human journey into unknown territories) and space exploration as an imposed unifying ambition for the USSR’s citizens.

Visually I am trying to understand, depict, imagine the fragments of information that my family had at the time about the grand and very secret projects of the USSR. Their knowledge, I’ve been told consisted of a disjointed combination of rumours, wild guesswork and speculation, even though they might have directly contributed with their labour to the infrastructure creation leading to the nuclear test sites or Baikonur Cosmodrome.

(Google Maps, Yandex maps, family archive imagery)

The project was developed during the Digitalartistresidency.com 

and expanded on during the google maps residency at Offsiteproject.org in 2019

Future memory – Dataforming (2018)


#textile #memory #data #future #nonprivacy

part of Textile memory (2018)

Flytrap considers historical burdens ( 2017 )

 

A speculation on what drives Ukrainian far right groups in post-2015 revolution time. The work is also a response to the nationalism-provoking bait in a form of historical weight of disputed memories. The newspaper cut outs that refer to experiences of people who were being sent to Siberian camps as “enemies of the USSR.” Some conservative media utilise those tragic experiences as a populist strategy in western Ukraine to fuel the othering and hate towards the east Ukrainian displaced people that have moved to large cities in west Ukraine to flee the war against Russia that takes place there.

 
The work has got elements of long train journey that is the first traumatic experience a person who was sent to Siberia would encounter. The objects are based on my family’s story who were in Siberia working in forestry from 1945-1969 (10 years of which they spent in labour camps). These objects like domino sets are used to spent time as communal activity throughout the journey back to Ukraine, the birch relates to the landscape seen outside the window for several days. The added elements of tablets that are used, like domino sets in the past, to kill time of the journey (although a solitary activity) within Ukrainian wast rail network that brings the soldiers from west to the east of the country and the displaced people in the same trains vice versa. Now the videos of the first exiled journeys are used to accelerate the non-acceptance of the newcomers.

 

Video (Gulag archival footage) on loop 7 min, tablet 7″,
duct tape, birch wood, LED,
domino sets, newspaper cut out.

Continental Thread. An unfinished project (2017 – )


The performance/installation was a poetic attempt to link together two drifting elements. An inevitable force of separation connected by a feeble thread without any ability to actually pull the drifting entities together rather measure the width of their separateness. The exchange of thread not unlike the exchange of messages over distance, a separation inevitably is complete, as one can only perform it over a limited amount of time when the result is a history of exchanges and no tangible alteration of the drift. Drift happens whether we resist it or not. 

@ Thingvellir National Park 
with Nicolas Borchers

  string/video/performance

LisbonLQ1.jpeg (2017)


LisbonLQ1.jpeg is an enquiry into heritage artifice. It looks into an intertwined existence of digital and physical realms and explores fake heritage as an object that consists of visibly low-quality imagery printed onto and projected to a quality material object.

The project is inspired by encounters of pixelated digital images of Lisbon original tiles painted as wallpaper and pasted on new IKEA tiles in some location in Lisbon. Behind the facade with fake heritage objects, there’s a compilation of decay, precariously balanced structures and temporary architectural arrangement, all to support the image of a facade which then becomes only an image of itself reposted online.
 
Found objects, superimposed image of tiles, print out.
 
Part two of the project – LisbonLQ2.jpeg took place in 2019 @ Zaratan contemporanea

Christmas at my parents’ house(2017)


this work explores the fragile balance of family relationships

(50 m string, leveler tool, street sign, skateboard, mobile phone, cobblestones)

@RoundaboutLX (Lisbon, PT)

The residency was
Supported by the Arts Council Malta
Travel Grant

Camera Obscura (2014) 

The project uses the techniques of Camera Obscura not only to bring outside space to inside space but also to explore safe spaces for observation within a public space in an overpopulated environment. 

A shelter of an opposite space, it counterbalances the intensity, overcrowdedness and feeling of being overwhelmed at yearly Notte Biance event, where between 40000 and 80000 people gather for one evening in 0.62 sq Km of space.

With Nicolas Borchers and Berak Eyiceoglu


At Notte Bianca, 2014, Valletta
supported by Notte Bianca (ACM, Malta)


(plywood, paint, lenses, audio)
240 cm x 240 cm x 480 cm
(plywood, paint, lenses, audio)