ABOUT
Mountains of floppy disks, VHS tapes, polaroids and cassettes. This combination of media played a massive part in how a generation growing up in the 1980s and 1990s learned about the world. The world was reliant on these physical media formats to store images, music, films, documents, games and personal recordings. As media is rapidly absorbed into the World Wide Web, the physical media formats of the past have been deemed obsolete. This represents a big shift away from real world objects, driving towards a human existence that is ultimately governed by countless intangible data files.
Everything has a life cycle and with technology there is a relentless push into the unknown for newer, more efficient products. Since their introduction in 1981, billions upon billions of floppy disks have been manufactured and 30 years later production is coming to an end. Despite their previous dominance, physical media objects will eventually become rare artefacts. The floppy disk stands firm and lives on as a metaphor for the increasing pace of the modern life cycle, mass production and the throwaway culture of today.
Reusing objects can negate the need for waste, with a new function that also often has more charm than that of the original. Seeing art produced in this way can encourage a more creative approach to everyday objects that are deemed to be obsolete or useless. What brings the overall concept to life is that blend of the nostalgic and familiar, together with the freshness of a new form of expression.
As information is released from the physical form it allows personal data and identities to be revealed and permanently shared online to an infinite degree. At the same time individuality and privacy is now considered to be more precious than ever. It is now common to cultivate a second identity online. Although this online identity can be comprehensive in detail, it is a virtual representation rather than the real thing and is in some way created by the individual. The paintings replicate this process as the disks contain an assortment of historic data, joined together to create a whole new identity.
The first piece of work using floppy disks as a canvas was an image of a fingerprint. Connecting the data world with the human physical form using the theme of identity, albeit in an obvious way. The disks were then used in a grid to create photo-fits, constructing imaginary faces and identities that could draw connections to the personal information stored on the disks.
Each piece starts with either some preparatory sketching of an imaginary person, or searching for images of faces. The features are then mapped into a grid, with each section the size of one disk. The disks are then placed in tonally appropriate areas (almost like pixels) to create a collage. On top of this, the outline of the head and the details are sketched in pencil, with oil paint to emphasise the features. This process is quite selective as only certain sections are finished completely. The unfinished aspect allows the viewer to see the layers, showing how the work has been created.
The personal information that exists inside of each disk is forever locked down underneath the paint. Mysteriously though, the handwritten labels on each disk are often left to show through, giving a clue as to what lies beneath. This is a reflection of online culture, where information is permanently stored, but with varying levels of access.
The metal circular hub on the reverse side of the disk is used as a visual metaphor for the human eye. This is integral as the eyes of a person can reveal their identity and inner feelings. In the film Blade Runner the Voight-Kampff test is used to gauge the reaction of the eyes to a set of carefully selected questions in order to determine if the subject is human or android. In the paintings, the true identity of the subject is unknown and the eyes are sometimes obscured, somehow offering a level of privacy or protection.
Humankind is integrating with technology at an exponential rate. This merge has been happening throughout human existence, leading today to a crucial tipping point in the process. The majority of people now own a mobile phone, often carried everywhere. Mobile phones then make the transition to become computers, with endless functions that can be customised to the individual. Currently all this functionality is on a device that is close to, but outside of the body. If this becomes internal it would raise a fundamental question of identity; can a human still be considered to be an entirely organic being?
The paintings seek to simply highlight this new movement, as it becomes increasingly apparent as an important cultural and social transition of our time. Will humans be forever compatible with our own technology?