Sarah Robinson, Aeolian Intervention 2017. On site Dunsborough, wind manipulation of layers, MP4, Stereo, 1m 12sec duration.

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.
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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.

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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?