For my further artistic practice I would like research the accelerating effect the implementation of digital technology and algorithms has on an individual.
For my further artistic practice I would like research the accelerating effect the implementation of digital technology and algorithms has on an individual.
Artworks and Processes
Artworks and Processes
Artworks and Processes
Artworks and Processes
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Here is a heading
Ich bin ein Textabschnit. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt.
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Gregor Wright
​© The Modern Institute/Toby Webster Ltd, Gregor Wright, Magic Stuff, 2018
"His work is informed by a variety of interests including science fiction narratives, computer games, philosophy of mind and a passing interest in the occult.” – Gregor Wright
found imagery distortion
digital strokes
constantly changing image
play with perception
In ‘Magic Stuff’, Gregor Wright shows a series of works on UHD screens leaned against the walls of the gallery’s Bricks Space. These digital paintings posses painterly elements as they consist of different layers which build the final image. It can be viewed as a natural progression. He starts with found-imagery from pulp science fiction covers or illustrations which he distorts using a custom-designed algorithm. Then he overlays them with digital marks and strokes which can be applied immediately as there is no time wasted for the colour to dry first. By placing the screens on the floor and leaning them up against the wall, Wright further removes an explicit association with painting. Most importantly to notice that the static nature of the work is not certain. The content that is displayed in the works slowly changes over time and is almost undetectable for the viewer. (The Modern Institute, 2018)
Gregor Wright, Untitled, 2013 – 2016, Drawing
Oil, pastel and pencil on paper, 41 x 59 cm
​© The Modern Institute/Toby Webster Ltd, Gregor Wright, Magic Stuff, 2018
Key Takeaways
Why is it relevant to me?
Wright addresses the inconsistency of perception and connects his painting to time. I think it is relevant to my work because it shows how an artwork can be enriched by the numerous possibilities the digital offers. He works with the element of surprise and sensitizes the audience to look closer and to take the time to really “see” what is in front of their eyes.
What I like most about his work is the time aspect and that he makes the viewer curious and keeps him waiting. I think we are so used to identify the content of an image online within seconds thats it is a necessary approach to slow the gaze of the viewer down for a bit.
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References
The Modern Institute (2018) Gregor Wright, Magic Stuff. Available at: https://www.themoderninstitute.com/artists/gregor-wright/exhibitions/magic-stuff-2018-09-15/6578/ (Accessed: 18 Oct 2021)
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