Those nights and corners, these vectors, shading flows


Those nights and corners, these vectors, shading flows
Rebecca Container, 2021, Genoa, Italy


Our commons have steadily become a space of subliminal mass-media acceleration. Of screens, cameras, video and surveillance bulk-data capture of our intimate details. Metadata. While our interaction involves mostly that of applied software, few know the inner workings of how they are made up – PHP, JS, Python, DL.

One could say that your Purple sweater a day does not matter to one’s intimate identity as you are lost in the crowd, that day in the street, unique individuality that forever becomes photographic biometric stored data. A plain photo capture. All our faces and eyes geometric structure are archived in centralized databases together with unencrypted messages and search history. A face scan instead of a ticket to enter the metro. We all feel a bit safer and nothing anymore is outside the info-grid. We trust that this data will not be misused today or in the future, as total surveillance technologies continue to take hold and expand online to “afk”.

Error and pixel-drain are dysfunctions in information systems, a disruption when a tool does not work properly, halted work efficiency, broken communications for a while, time slows down, abstraction becomes negative.

A picture, a photograph tells a truth of reality in a frozen moment, presumably. One could also say that truth itself is a complex entanglement unseen, considering all the soulful things we say and dream, the small errors in a conversation, absence, flow, the arbitrary random dress up, expression in codes as well as an image is – “the real” combined. The never really manageable, fleeting, unready, an abstraction in interpretation, shadows or shadows of clouds. Vacuums in content, the in-between, the what that is left out are unattained.

“”Reality” might be characterized as what *puts up resistance* to narration, description, representation: what exceeds and constrains them.” Crispin Sartwell

The print-work for the exhibition includes selection from a series of cotton papers pigment printed by the artist in his studio, as well as mounted fabric prints. The textures for the works are made by algorithms developed by the artist, making use of drawing, erasure, lag, shifting, shaders and generative coding to make low-res vector renderings rendered at 1:1 pixel high resolutions. The night photograph shown in the exhibition was taken in the suburb of Oslo, Norway, last winter during time of society standstill, while the fabric installation composes a hand-sewn piece.

This combination put together an exhibition space, where personal stories are drawn together in different materials reflecting on processes traversing screen to fabrics, from the streets to the screen.