My Desire To Consume [2022]
[12.01.22 - 12.02.22]
Sited at Grey Projects and presented through a program, Enzyme 1.0 (2022), My Desire to Consume is an exhibition that takes the form of an installation and a digital sandbox for ‘trading’ art.
Taking the form of programs, digital images and moving images, the exhibition brings together different digital art practices. From Joanne Ho and Kapilan Naidu’s Enzyme 1.0 (2022) that degrades artworks with each simulated ‘trade’, to Andreas Schlegel’s #FFFFFF an image of white that exaggerates Enzyme 1.0 to Debbie Ding’s Cat (2016) and Jennifer Mehigan’s Fuschia Jubilee (2021) that bring together digital aesthetics with traditional art world structures of distribution, to Tisya Wong’s Off Screen (2022) and Fyerool Darma’s KemuntingChina3 by Abam RetroTech (2022) that materialise the human hand in economies of ‘crafting’ images, these artworks mobilise digital formats and aesthetics in ways that critically engage with the speculation that have defined the post-Covid rise of digital art.
With the art scene being encouraged by the market and patrons to digitise, My Desire to Consume is a provocation to rethink the futures of the group exhibition as well as the conceptual stakes of digital art.
Jo Ho is an artist working with digital and physical spaces that question the role of presence, agency, and creation of meaning and value in our increasingly automated world, where views of "machine as tool" and "machine as creator" are being challenged. Her recent work explores perceptions of digital media today and attempts to reveal the tangibility beneath digital works in today’s world of rapid content production.
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Kapilan Naidu is a media artist, designer and technologist with a keen interest in exploring the effects of rapid mechanization and computational supremacy in modern society. Using interactivity and real-time data as mediums, his works span across images, animations, sound, mixed-reality experiences, and screen-based installations. Kapilan is both informed and inspired by the emergent nature of procedural algorithms, where they take on a central role in guiding the visual outcome of his works.
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Tisya Wong is interested in the assemblage of things. With a practice rooted in overthinking & overanalysing, she deconstructs & derives meaning from human-object relationships, utilising the mundane & inanimate as a means to disrupt the perception of our everyday experience.
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Andreas Schlegel works across disciplines and creates objects, tools and interfaces where art and technology meet in a curious way. Many of his works are collaborative and have been presented on screen, in code, as installations, workshops or performances. His practice focuses on contemporary and open-source technologies, where outcomes are informed by computation, interaction and networked processes.
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Jennifer Mehigan’s work spans multiple platforms, bringing together 3d modelling, found objects, stock images, text, textiles, video, painting, sound, scent, and installation. Recently her practice has expanded to include workshops, graphic collaborations with friends, and growing flowers. She is a director of The 343, and a founding member of FRUIT SHOP. Her research is currently located in West Cork graveyards, queer Irish garden histories, and inter-species/dimensional/planetary communication.
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Fyerool Darma graduated from LASALLE College of the Arts, Singapore in 2012. He lives and works in Singapore. His artworks are based on an extensive visual vocabulary drawn from popular culture, literature, the archives, the Internet and his own life.
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Debbie Ding (DBBD.SG) is a visual artist and technologist whose interests range from historical research and urban geography to visions of the future. She reworks and reappropriates formal, qualitative approaches to collecting, labelling, organising, and interpreting assemblages of information – using this to open up possibilities for alternative constructions of knowledge. Using interactive computer simulations, rapid prototyping, and other visual technologies, she creates works about subjects such as map traps, lost islands (Pulau Saigon), World War II histories, soil, bomb shelters, and public housing void decks.