TOUCHING THE VOID: WHEN THE PHYSICAL COLLIDES WITH THE VIRTUAL
John Butler, Clay Gold, Katie Hare, Matthew Humphreys, Claire Manning, Nicholas Mortimer, Liv Pennington, Mildred Rambaud
Open : Saturday 8th July - Sunday 6th August
Private View: Friday 7th July 6pm - onwards
Opening Times: Friday, Saturday, and Sunday 11am-5pm
You wake up and music fills the room.
Your PC has identified your brain signals and coffee is brewing to your specifications.
Later you put on your VR headset and leave the house.
Amidst your view of the real world, avatars approach you.
They greet you, meet you, inform you, warn you, and sell to you.
Are you ready?
Are you ready for your future?
We are creating a discourse for people to reflect on our digital future and the ways in which that could potentially impact on our everyday lives.
How do you think the rise in virtual reality and technological advancements will effect our physical, functional, and emotional routines? How would you wish to see it advance?
About the artists:
John Butler's films recount the daily routine of children being raised in a secure compound to meet the challenges of a financialised world. His work is about human utility in an age of artificial indifference. He works with 3D animation, motion capture, digital audio and text to speech applications.
Clay Gold's “Between the Attic and the Basement” is a sound installation which addresses the space between the conscious mind and the subconscious archive.
Katie Hare's films are looking at the effects of the rise of rapid digital communication, specifically in respect to memory, both shared and personal. Katie works in video, but also across performance, sound and text.
Matthew Humphreys explores the human condition, highlighting the role of sight and sound as a component for discourse and wellbeing. His film and collages are personal recollections of his family life. His documentary video background informs his artistic practice. His camera catches the most intimate moments and transforms them into universally engaging themes.
Claire Manning's film is an investigation into edgelands and non-places. Her film technique uses distortion and collaging to emphasis the emotional potential of these ‘non-utopias’. She uses non-traditional approaches and construction methods to create her films, installations, assemblages, montages, and prints.
Nicholas Mortimer's installation creates a conversation between an avatar of justice and a vision of future man. The characters meet in a mythological ruin, and discuss how technology could make meaningful change to social, cultural and political issues. Nicholas' work explores transfictional methodologies and mythological possibilities focussed on cybernetic futures that become meshed with ancient symbolism.
Liv Pennington's films and prints examine the impact of digital forms of communication, on the social management of the likable female image. What happens when you perform, adjust and filter your appearance and behaviour for views and for likes?
Mildred Rambaud's sculptures highlight the physical, through delineating space, while reimagining a new sculptural language. She embraces a range of methods and approaches including painting and performance. Her work explores archetypal imagery, fragility and the impossible.
Touching the Void is Crate's contribution to the Margate Festival.
Image: Katie Hare, Edge of the Frame (still), 2016