Much of my art practice is informed by a simultaneous enchantment with and concern for the increasing presence of the screen and myriad forms of digital mediation in daily life experiences. I am interested in how the digital interface affects and redirects the ways in which we interact with each other and with our environment and how we negotiate a parallel existence in both reality and virtuality. I currently work with the photographic medium in both its analog and digital incarnations as it embodies the threshold between reality and digital construct.
A while ago I decided that my time had come to take on the role of virtual tourist and embark on a Grand Tour of cyberspace in the hope of expanding my horizons and exposing myself to a firsthand experience of virtual worlds. In the spirit of a nineteenth century Grand Tour, I set out to behold all those virtual vistas, monuments and cabinets of curiosities as may be encountered in virtuality. My travels through one of today's self-proclaimed leading online worlds, Second Life, took place in the fall of 2008 from my home in Surrey BC, Canada. I went sightseeing in several of its virtual domains and photographed my screen from my embodied existence in real time and space similar to how I would approach my 'real life' holiday snapshots. The large C-prints produced from these negatives give presence to the 'woolly' RGB phosphors of my CRT monitor: the phosphor dots simultaneously deconstruct the image as a 'light show' and call up associations with a hand embroidered surface.
Scatter Plots is a series of digital C-prints that continue on where German photographer Thomas Ruff's JPEG series left off. Whereas his work focuses on the compression processes that abstract the image information in a digital photograph, the Scatter Plots series stages its smallest unit, the pixel, as both medium and metaphor. I use pixelation to create moments of rupture within the image, moments which expose the 'nature' of digital photography pixels on a grid, moments which engage the capacity of the human mind to impute missing data, moments that activate the image as a façade signifying both our desire and the ephemeral experience of nature. The title Scatter Plots plays on the essence of the digital image as a grid of data points. The pixel traps many binary motions: it simultaneously constructs and deconstructs, it renders detail and abstracts image information, it represents 'reality' and conjures up illusions.