My work addresses the ways in which we filter information in and out of our stories. Inundated by information, people choose which stories to believe and promote. But mediated narratives are not truth, and visual information is not continuous.
I have been using the architectural model as a mode of examining memory. Under the guise of a fictitious architecture practice, I recreate people’s memories using 3D-modeling software, interlacing my interpretation with their narrative, and using speculative tools to draft past moments.
With my digital recreation of a 17th-century Vanitas painting, I invert the still life process by rendering objects in 3D and exposing their hidden geometry. Challenging notions of the original and of the artist as uniquely talented, my digital still lifes are infinitely reproducible in a variety of forms, including video, 3D printing, and projection. I plan to exploit the paintings’ role as both representations and conveyors of luxury to explore messaging to me as a 21st-century woman: be less, own more.
Both the memory and Vanitas recreations extrapolate something intimate – a story – into something rational – information. For me the work happens in the glitches, which I produce by pushing the software further than it wants to go. The glitches exude a sense of the uncanny and speak to the unreliability of memory. They are the moments in which I’m able to push psychology and emotion into the neutral and impersonal aesthetic of the architectural rendering. From here I’m now exploring the possibility of evoking tactility in the digital realm.