‘Line of Sight’ a group show by Glasgow School of Art Design School staff Paul Maguire, James Houston, Kim
O’Neill and Jen Sykes has opened in the Reid Gallery. The exhibition explores the
perceived role of communications technology, and what role we
could be perceived to play in its future. The exhibition runs until 16 December
2016.
O’Neill and Jen Sykes has opened in the Reid Gallery. The exhibition explores the
perceived role of communications technology, and what role we
could be perceived to play in its future. The exhibition runs until 16 December
2016.
The title of the
exhibition, Line of Sight comes from a term used in the theory of radio
transmission to describe when the receiving antenna is just able to see the
transmitting antenna, with the works in the show exploring communication of perceptual information in tacit
interactions and the psychological reproductions of circuits of information.
exhibition, Line of Sight comes from a term used in the theory of radio
transmission to describe when the receiving antenna is just able to see the
transmitting antenna, with the works in the show exploring communication of perceptual information in tacit
interactions and the psychological reproductions of circuits of information.
The four artists open up a dialogue addressing both the contemporary and
historical relationships to technology and how technology is perceived both as
a device and a medium to work with.
historical relationships to technology and how technology is perceived both as
a device and a medium to work with.
|
| Jen Sykes: Objects under Domestication |
The focus of Jen Sykes’ research
is the relationship between the transference of energy and how this potential
source is visualised through performative traces. The work focuses on exploring
Protoplasm, the translucent living matter of which all
animals and plant cells are composed. When a living organism picks up
vibrations it speeds up the protoplasmic movement in cells.
It is commonly believed stimulating such systems may improve performance, such
as, in the case of plants, the manufacture of nutrients that develop a stronger
and better plant. For Line of Sight
experimentations on the effects of vibrations in relation
to the Domestication of objects will be applied
to a sculptural recording. Using bespoke oscillatory sensors placed around the
gallery, the electronics will transmit vibrations
detected by users of the gallery feeding back the positive performative qualities
through the mechanical, sculptural form.
is the relationship between the transference of energy and how this potential
source is visualised through performative traces. The work focuses on exploring
Protoplasm, the translucent living matter of which all
animals and plant cells are composed. When a living organism picks up
vibrations it speeds up the protoplasmic movement in cells.
It is commonly believed stimulating such systems may improve performance, such
as, in the case of plants, the manufacture of nutrients that develop a stronger
and better plant. For Line of Sight
experimentations on the effects of vibrations in relation
to the Domestication of objects will be applied
to a sculptural recording. Using bespoke oscillatory sensors placed around the
gallery, the electronics will transmit vibrations
detected by users of the gallery feeding back the positive performative qualities
through the mechanical, sculptural form.
|
| Paul Maguire: Reboxing (detail) |
Paul Maguire is interested in the use of computer-based media in a conceptual art context, playfully subverting and questioning established notions of perception. Technology is explored
as an expressive medium allowing an and experimental approach. ‘Do you love me yet?’ is a
large-scale software-based projection work, which utilises an industry-standard
3D game engine and recontextualises it within an art gallery. A life-size
character dressed in a motion capture outfit stands
idly, awaiting company. As a visitor approaches, the character suddenly reacts,
adopting a series of randomised and absurd animated gestures and
expressions in a vain attempt to gain favour. When the user leaves, the
character hangs its head tragically and
awaits the next visitor, a perpetually under-appreciated virtual prisoner.
as an expressive medium allowing an and experimental approach. ‘Do you love me yet?’ is a
large-scale software-based projection work, which utilises an industry-standard
3D game engine and recontextualises it within an art gallery. A life-size
character dressed in a motion capture outfit stands
idly, awaiting company. As a visitor approaches, the character suddenly reacts,
adopting a series of randomised and absurd animated gestures and
expressions in a vain attempt to gain favour. When the user leaves, the
character hangs its head tragically and
awaits the next visitor, a perpetually under-appreciated virtual prisoner.
|
| Kimberley O’Neill: Mood Organ |
Kimberley O’Neill’s current research examines the
reciprocal dynamic between viewers and popular media. Media products such as
films and TV programmes aim to connect with viewers
emotionally, and information about what engages viewers becomes capital within
media networks. When viewers respond emotionally they can be considered to be
performing affective labour. Tears provoked by an emotive scene are
part evidence of this work and part of the affective
economy. Fluids and information are also linked within the body, which is in
itself a conduit. O’Neill’s new video installation – Mood Organ – explores this circuit of liquid,
information and emotion. Acting as a repository for
her research, this new work considers how emotional power is generated and
circulated.
reciprocal dynamic between viewers and popular media. Media products such as
films and TV programmes aim to connect with viewers
emotionally, and information about what engages viewers becomes capital within
media networks. When viewers respond emotionally they can be considered to be
performing affective labour. Tears provoked by an emotive scene are
part evidence of this work and part of the affective
economy. Fluids and information are also linked within the body, which is in
itself a conduit. O’Neill’s new video installation – Mood Organ – explores this circuit of liquid,
information and emotion. Acting as a repository for
her research, this new work considers how emotional power is generated and
circulated.
Technology
acts as a prompt in James Houston’s work. He has found a tested and worthwhile
strategy for creative output revisiting old or nostalgic ideas through the lens
of new technology. For Line of Sight
Houston has constructed a fabrication of a Memento Mori death clock. An
information display for an estimate of how many weeks the user has left to live
displayed via a grid of LED lights. Acting as an imposing tangible and physical
reminder of our own mortality
acts as a prompt in James Houston’s work. He has found a tested and worthwhile
strategy for creative output revisiting old or nostalgic ideas through the lens
of new technology. For Line of Sight
Houston has constructed a fabrication of a Memento Mori death clock. An
information display for an estimate of how many weeks the user has left to live
displayed via a grid of LED lights. Acting as an imposing tangible and physical
reminder of our own mortality
Line of Sight was selected following
an open call to GSA staff and students for proposals for self-initiated
projects. It runs concurrently with Ahali: a journal for setting a setting, by Can Altay, curated by Lesley Young, a tutor on
the MLitt Curatorial Practice programme
an open call to GSA staff and students for proposals for self-initiated
projects. It runs concurrently with Ahali: a journal for setting a setting, by Can Altay, curated by Lesley Young, a tutor on
the MLitt Curatorial Practice programme
Ends
Further information:
Lesley Booth,
0779 941 4474
@GSofAMedia
Notes for Editors
Jen Sykes
Jen Sykes is an artist/designer based in Glasgow. Having graduated
from the MFA in Computational Arts at Goldsmiths University of London in 2012,
her work spans creative computer programming, sculpture and electronic hardware
designs often connecting the physical analog and digital worlds. Her research
focuses on using
computation as a material to narrate qualities which normally lay dormant,
invisible to the human eye. In particular, biometric
energy and how we visualised this through performance. Her research has led her
to develop her own hardware in the form of oscillatory sensors measuring their
surface environments.
from the MFA in Computational Arts at Goldsmiths University of London in 2012,
her work spans creative computer programming, sculpture and electronic hardware
designs often connecting the physical analog and digital worlds. Her research
focuses on using
computation as a material to narrate qualities which normally lay dormant,
invisible to the human eye. In particular, biometric
energy and how we visualised this through performance. Her research has led her
to develop her own hardware in the form of oscillatory sensors measuring their
surface environments.
Recent exhibitions include Test Signal, Hotel Elephant London and
Museum for an Imagined City, SOIL, Seattle.
Museum for an Imagined City, SOIL, Seattle.
Paul
Maguire
Maguire
Glasgow-based artist and educator, with over 20 years experience in the
software design of award-winning interactive media
for public spaces, including the Titanic Museum, Expo 2005, The Cabinet War
Rooms and The Science Museum, London. A graduate from the Master of Fine Art
programme at The Glasgow School of Art, his recent work uses digital techniques to explore the complexity of human/computer
interaction, and examines the fractured intersections of art, design, and
technology. Recent projects include Allotment with National Theatre of
Scotland, and Player at Science Museum, London.
James
Houston
Houston
James Houston is an artist and motion designer based in Glasgow who
graduated from the Glasgow School of Art in 2008. Projects include
installations, motion graphics commissions, music videos and short films.
graduated from the Glasgow School of Art in 2008. Projects include
installations, motion graphics commissions, music videos and short films.
Kimberley
O’Neill
O’Neill
Kimberley O’Neill is an artist
filmmaker based in Glasgow. She graduated from the Royal College of Art, London
in 2007. Recent projects include Nos Algaes (2014), Tramway as part of
Generation, Amygdala N.O.S (2015), South London Gallery, collaborative
performances with Cara Tolmie and France Lise McGurn and Conatus TV, Edinburgh
Art Festival, 2016. Kimberley has a
forthcoming solo exhibition at the Telfer Gallery, Glasgow in February 2017,
and is currently the Telfer Galleries artist-in-residence.
filmmaker based in Glasgow. She graduated from the Royal College of Art, London
in 2007. Recent projects include Nos Algaes (2014), Tramway as part of
Generation, Amygdala N.O.S (2015), South London Gallery, collaborative
performances with Cara Tolmie and France Lise McGurn and Conatus TV, Edinburgh
Art Festival, 2016. Kimberley has a
forthcoming solo exhibition at the Telfer Gallery, Glasgow in February 2017,
and is currently the Telfer Galleries artist-in-residence.