Into each other, 2022

Part of multimedia installation Into each other, Gijs Bakker Award Nominee
Film, Narration, Motion Tracking, CGI
04:00:00 

Sound by Vanessa Bosch/ ︎︎︎chao54ngel

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The female body has been mediated and controlled throughout cinematic history.

Which in turn has been internalised in the audience’s bodies, gestures and customs. With new advances in CGI, digital bodies are becoming more realistic and pervasive both in cinema and online, which in turn imprint a whole new range of gestures and customs on the audience’s bodies.
On closer inspection however, what is perceived as realistic is defined by digital constraints and proclivities that do not match the physical. Into Each Other is an auto-theoretical video and multimedia installation reflecting on the ideological infrastructures that post-produce (ala Hito Steyrl) the intertwining of our lives and screens.
Characters on screen may be bound to the surface of the liquid-crystal-display, but their behaviour and way of being showcased do not stay within the screen's dimension. The project "Into each other" narrates the life of CGI character Megan, caught within screens. She is programmed to be female and so is the way she moves her body. Her motion library consists of gestures such as the “female kiss”. A stock body, who begins to question the inherently opposing presumption of hers and the audience's body. Aiming to expose how her digitally augmented body is entwined in the viewers, who distort their overall corporeality by adopting her cinematic behaviours.



dear open mouth sleeping beauty, 2022

Part of multimedia installation Into each other
Ceramics, Steel, PLA, Aluminium, Glass, HMA
540x540x1300mm

Gijs Bakker Award Nominee
On view during Pools of Swallowed Grounds during Mayrit Bienal, Madrid, Spain.

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Monitor arms are usually hidden behind the screens

upon which audiences watch visual material move through predetermined narratives and recurring tropes in film such as female charachters caught inside a television as an erotic object, displayed as a holographic commercial success, or mimicking motions of robotic behaviour to distort the viewers perception of wether they are watching a human being or a programmed and computer generated body.
Computer generated images of bodies are about to ace the way bodies appear and eventually move through reality. They are moving into an era in which audiences won’t be able to deciffer between digital or physical bodies. Those characters on screen may be bound to the surface of the liquid-crystal-display, but their behaviour and way of being showcased do not stay within the screen's dimension, but reach out to their audience.
As part of the multimedia installation Into each other, the object takes a central stand within the way female charachters in film behave in synchrony with machinic gestures, or even the screen as such itself. Neverthelss the robotic arm always faces the audience. Mounting them on its fragmented body where there is usually a screen facing them. Constructed from sculpted digitii the piece is surrounded by a cage like space, textured and composed from computer generated images and stock bodies.





holographically speaking, 2022

Part of multimedia installation Into each other
Ceramics, Steel, PLA, Aluminium, Glass, HMA
540x712x300mm

Gijs Bakker Award Nominee
On view during Pools of Swallowed Grounds during Mayrit Bienal, Madrid, Spain.

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Focussing on digital parameters of CGI charachter Megan:

Megan can move her stock body according to the input she is pushed to follow. Her body responds to predetermined paths she willingly agrees to move along with, caught in feedback loops from where there is no escaping the order she was placed in and created for. Or so it seems. She is programmed to be female and so is the way she moves her body. Her motion library consists of gestures such as the “female kiss”, “being carried” or “looking over the shoulder”.
The female kiss became the focal gesture for this project. Not only as it has been subject to be controlled through cinematic history back then, but because it still acts a a moment of separation between what is supposed to be seen and what relies on sole imagination, today.
Instead of looking upwards, searching for an inexistent male body, Megans kiss was digitally examined and tested to an extend from where her body took shape as a new entity. As a result her body on screen distorts, puffs up and visually redefines the gesture of the kiss as a framing element for films screened #IRL.
Megan’s way of residing within the screen and distorting her body has created the basis for the projects physical presentation. Screens mounted in place.