Our relationship with the past is changing.
Through subtle coercion, driven by commercial interests and rapid developments in consumer technology, we are being encouraged to loosen our grip on the physical and material in favour of a clean, hi-tech future – living orderly lives free of clutter and the traces of what we once were.
With the digitisation of television, photography and film – finalised in the switching off of the analogue signal – our concept of time and distance has shifted radically. Images have become fluid: they can be created in an instant, altered and manipulated in ways that were not possible before. We can be selective, free to pick and choose, with greater control than ever over our personal archive and what we choose to reveal about ourselves. What are the implications of this?
The process and ‘workings’ behind a piece are integral to my work; as is the ability to shift between analogue and digital formats at will. The concealment of ‘makers marks’ and the illusion of endless choice offered by proponents of an entirely digital world have far reaching consequences – not just for artists working in analogue mediums. The digital world is collapsing all sense of time, and there is difficulty in discerning authenticity: what is real and what is illusory; its capacity to distract and contain is far-reaching.
As technology advances and machines become ever ‘smarter’ a transfer of skills and knowledge is also taking place. This monumental shift is changing how we relate to our past, and thus our sense of who we are. My work seeks to explore the consequences of this shift.