Sarah Robinson, Aeolian Intervention 2017. On site Dunsborough, wind manipulation of layers, MP4, Stereo, 1m 12sec duration.
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Data theorist Luciano Floridi’s comment that ‘the digital’s cleaving power hugely decreases reality’s constraints and escalates its affordances’ (2017), informs images derived from a Basalt rock fragment washed up on Preston Beach; the Dunsbourgh Burrowing Crayfish (Engaewa reducta); the artifact of a metal gun found under floorboards at the Harbormaster’s Cottage, Bunbury.
Visual boundaries are extracted from conceptual fault lines residing in all three objects: Basalt extruded through the earth’s surface at the Dunsbourgh Fault Line; the Engaewa reducta faces the edge of extinction; a plastic gun references stories of misrepresentation of the original metal gun, identified as a fake. Employing photogrammetry software’s autonomy in digital processing creates mistakes that re-form 3D images into a different kind of agency that is re-discovered through the traditional etching process and silkscreen. |
Robinson’s work spans all Time in the geology of basalt formed as Gondwana split; all is transformed and reimagined by ephemeral pixels, then made manifest again in the physical through the mastery of print. Through this process she asks: Why are perceptual experiences of the physical world seemingly misplaced or lost to digitalisation?