The Majority Just Sat And Watched
Digital image printed on Dibond
“Digital Landscape” focuses on the ambiguity of Language in the Digital Age and the way it shapes our culture. At the same time, it explores the complexities of the volume of information currently amassed on a digital/virtual level, and the unified voice it has created.
Realized through emoji inspired symbols, each piece works to express complex personal experiences, thoughts or ideas to its viewer mimicking new communication techniques that have risen from texting and social media.
The work takes form from hundreds of appropriated images from Internet searches that visually amplify the information to be processed by the viewer. Reminiscent of binary code and ancient cuneiform writing, these alternating patterns reinforce its intent to be observed as a language. At the same time, they confer to it, in aesthetic terms, a frequency of digital noise, that evokes a state of apophenia, the human tendency to perceive meaningful patterns within random data.
While “Digital Landscape” admittedly gives precedence of an objective to communicate, its heart lies within the ambiguity it projects. By not maturing to full clarity, the series embodies the spirit of a collective consciousness that is currently under development within our Digital Age.
“Digital Landscape” focuses on the ambiguity of Language in the Digital Age and the way it shapes our culture. At the same time, it explores the complexities of the volume of information currently amassed on a digital/virtual level, and the unified voice it has created.
Realized through emoji inspired symbols, each piece works to express complex personal experiences, thoughts or ideas to its viewer mimicking new communication techniques that have risen from texting and social media.
The work takes form from hundreds of appropriated images from Internet searches that visually amplify the information to be processed by the viewer. Reminiscent of binary code and ancient cuneiform writing, these alternating patterns reinforce its intent to be observed as a language. At the same time, they confer to it, in aesthetic terms, a frequency of digital noise, that evokes a state of apophenia, the human tendency to perceive meaningful patterns within random data.
While “Digital Landscape” admittedly gives precedence of an objective to communicate, its heart lies within the ambiguity it projects. By not maturing to full clarity, the series embodies the spirit of a collective consciousness that is currently under development within our Digital Age.
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