On a large screen suspended in space, an ongoing imaging process is visualized. A sudden burst of energy scrambles the visual coherency of an image, picture elements careening off into the far reaches of a three-dimensional virtual matrix. The pixel or “basic unit of programmable color” as Graham Harwood calls it, is for a brief moment freed from its representational burden, traversing space, becoming nothing but pure chromatic value and geometrical coordinate, caught up in a turbulent, expansive moment.
Over time, certain points from this bustling jumble slowly drift back, drawn once again toward the center of the screen. Pixels languorously position themselves in relation to one another, contiguous colors gradually forming small surfaces. Little by little a new image takes shape. Once the last pixel is in place, the operation repeats anew.
For media theorist Friedrich Kittler, the addressability of the pixel provides the conditions of possibility for what he calls the virtualization of optics. Where the physical camera lens once embodied the laws of optics in order to model and extend the human eye, software now simulates the camera and all other forms of optical hardware. The pixel's implied receptacle, the two-dimensional Cartesian grid, acts as an invisible placeholder, an organizing principle intimating neighbor relationships that provide affordances for all manner of filtering, processing and image recognition proper to computer vision and computer graphics, the analysis and synthesis of the technical image.
What one sees are the latest photographs of breaking news in real time. The news agencies' transcription and transmission of these events, as information, forms the background for both Addressability and its linguistic counterpart, Disambiguation. A dialogue is created across the two works, words and pixels becoming discrete components in combinatory play : depiction poetically reconfigured in one, description visually permutated in the other.
Custom software (Java, Processing, OpenGL, Nodejs), MacMini, Full HD video projector, plexiglass screen, dimensions variable
- Snap + Share, San Francisco Museum of Modern Art, 2019, Curator - Clément Chéroux
- Hyperimaging! Images in and out of our screens, The “Gjon Mili” Biennial & Award, National Gallery of Kosovo, 2017, Curator - Alfredo Cramerotti
- Staring at you staring at me, Amado Art Space/Lab, Seoul, South Korea, 2016, Curators - Éric Maillet and Jinsang Yoo
- A-t-t-e-n-t-i-o-n, Bienniale International Design Saint-Étienne, 2015, Curators - David-Olivier Lartigaud and Samuel Vermeil
- (Mis)Understanding Photography - Works and Manifestos, Museum Folkwang, Essen, 2014, Curator - Florian Ebner
- Silicon Valley Contemporary, San Jose McEnery Convention Center, San Jose, 2014
- Show Off, Espace Pierre Cardin, Paris, 2013
- Ladies and Gentlemen We Are Floating in Space, Young Projects Gallery, Los Angeles, 2013
- La Criée Centre d'Art Contemporain, Rennes, France, 2011
- Radio interview with Nadège Padellec for Radio Campus Rennes, 2011
- Par le chas d’une aiguille, Marc Lenot, Lunettes Rouges, 2011
- Jeff Guess à La Criée, Chloé Orveau, Zero Deux Online, 2011
- Catalog for (Mis)Understanding Photography - Works and Manifestos, Museum Folkwang, Essen. Steidl, 2014
- Private collection, Arizona