BFA - Creative Technologies
As a multidisciplinary artist, pluralism - both in terms of media and aesthetics, is the primary characteristic of my work. I think of the aesthetic of pluralism as the omnipresent visual accompaniment to the postmodern condition. Both of them are just as indescribable and impalpable, as they are inescapable.
When trying to trace and define the origins of the postmodern condition, it becomes evident that the presence of the internet is a key contributor both to its genesis and its omnipresence, as well as its aesthetic qualities. The fictional hypothesis that I present in this work lies in the notion that the postmodern condition in its entirety is a product of the internet.
With the name of the work being the combination of names Autoplay and Videodrome, it acts as a signifier of commonality of cross-appropriation and trans-culturalism as comedic devices on the internet. That being said, the reference to David Cronenberg’s work stands as a logical continuation to the ideas first presented in Videodrome. Just as television is in Cronenberg’s film, the internet in my work is seen as far beyond being a metaphysical extension of ourselves - it is the device that shapes both our perception of reality, and our physiology from square one and to completion.
The ontological dichotomy is further reinforced by the ambiguity of the work’s material presence. It exists equally in the physical word, as it does on the internet. Shards of compressed data are as intangible on our screens, as they are in the form of projected light. The uncanny nature of infinitely repurposed accompanying sound elevates the intangible even further.