In order to better understand our digital practice we have been recommended to research a variety of digital artists and by doing so contextualise, reflect and find relationships in our own digital endeavours.


His few suggested works, “Propulsion Painting” and the “Eyewriter” appear to rooted in a more mechanical skill base. Whereas I believe art is fairly accessible to everyone, these first two works require an in-depth knowledge in specific areas (gas propulsion/containment, electronics) in order for them to be completed. Having said that there are both very interesting and while the ‘Kinect art’ aspect of the “Propulsion Painting” is fairly innovative I am particularly fascinated by the “Eyewriter”, which is a pretty phenomenal breakthrough. It would be fantastic to explore its logistics and capabilities if the opportunity ever arose(this my issue, I’m not an electronics expert, nor do I know anyone who is–like Mr Roth.) The “TSA Communications” is by far my a favourite piece by Evan Roth. Working at Heathrow Airport myself, I frequently come in to contact with the up-tight, power-mad security officers during my shift as staff still go through to standard search and secrurity procedures. Therefore nothing would give me more pleasure to see their faces when messages like “Nothing to see here” and “Mind your own business” appear on large stainless steel panels. I like the idea of using art (digital laser cutting I’m assuming here) in order to fly in the face of authority, an authority which often abuses their power but in a manner which is non-violent and for the most part non-confrontational. It is leading me to think about digital art more than just a visual ultimatum and think about it as a vehicle to address issues, be them social, political, etc.
P1190203 nothing2see-full


With Bartholl’s work I get more of the traits that I would commonly associate with a digital art. Bold, graphic designs which in someway relate to the digital world and real world along with their applications. I thought the piece entitled “Map” was a playful yet effective response to the google map culture we live, the sheer size of the markers questioning the relationship between digital information space to every day, real space. If there were large A’s and B’s around it would be easier to get to your destination but I suppose they’d be absolutely everywhere as anywhere can be a destination!
Another piece which drew my attentions was the piece “Dust Excerpt 1”. As gaming is one of my interests (I appreciate games as a medium, without actually having the time to play them anymore)I liked how the pixilation quality of the Counterstrike game along with the general feel of the in-game texture mapping has been accurately replicated to life size models. These models appear at first glance to be CGI which has been inserted into real-life scenes which is a pretty cool illusion in itself. It led me to think of my own practice, and how it would be cool to re-create objects from videogames which have been landmark for myself, The Legend of Zelda is a definite contender. Of course, object shape, dimensions, in-game graphics and resolution all need to be taken into account, so a lot of in-depth research needs to be carried beforehand.
The 3×3 installation while being a more ‘physical practical’ piece of digital art it is still very effective and looks relatively simple to recreate on small scale (albeit a lot of trial and error I imagine). All in all a very interesting digital artist who melds aspects of the digital world into our own reality to create some effective results.(particularly highlighted by the ‘Are You Human’ pieces based on web CAPTCHA codes)