Hypermediation
The affect of digital hypermediation on the prosumer’s autonomy, perceived realities and speculated futures
This project considers how users of digital landscapes achieve agency in an algorithmically curated space. The inextricable relationship between cyberspace and contemporary existence forges pervasive hypermediation of experience by digitally reproduced images and information.
Employing techniques of filtration and enacting the glitch as means to slip from the cyclical maelstrom of meditation, I use corrupted photography of the corporeal body to explore the psychological affect of digital media on user’s autonomy and identity. I engage with the algorithms and artificial intelligence which map the avenues of information exposure in cyber navigation.
Digital hypermediation facilitates the construction of individualised hyperrealities which allow corporations to monetise our bodies, our time, our identities and our autonomy.
Realisation of my works occur when the digitally constructed images are transferred onto new substrates. The act of printing creates a layer of intervention, warping the image when it’s relocated from the digitally printed material to the final surface. Distortion is investigated further by physically manipulating substrates, allowing the prints to undulate with the folded form, metaphorically suggesting how one’s virtual existence can have real world impacts and have the potential to distort perception of reality. The transfer technique allows us to pause the whirling cycle of digital mediation through
interruption in order to focus and examine the power these images may have.
Reversed Hotlink Composition no. 3, 2022, dye sublimation print on aluminium, 27.9 x 35.5 cm, The National Art School ArchiveSelf Scan no. 1, 2022, image transfer on aluminium, 23.5 x 19.5 cmSelf Scan’s Possible Related Search: Language, 2022, dye sublimation print on aluminium, 27.9 x 35.5 cmContoured Form: Backyards, 2022, image transfer on MDF, 34 x 54.5 cm0.16666666667, 2022, copper plate etching with aquatint on Hahnemühle (framed), 36 x 36 cmSelf Scan Polarised no. 2, 2022, dye sublimation print on aluminium, 27.9 x 35.5 cmContoured Form: Landline, 2022, image transfer on MDF, 42 x 54 cmContoured Form: No Place Between, 2022, image transfer on MDF, 34 x 55 x 2 cmSoftware Portrait no. 2, 2022, image transfer on folded aluminium, 18.5 x 18.5 x 2.5 cm, The City of Sydney Art CollectionEnveloped Form: Reversed Hotlink Composition, 2022, dye sublimation print on folded aluminium, 100 x 50 x 25 cmContoured Form: Backyards, 2022, image transfer on MDF, 34 x 54.5 cmSoftware Portrait no. 3, 2022, image transfer on folded aluminium, 18.5 x 18.5 x 2.5 cm, The City of Sydney Art CollectionSelf Scan no. 1, 2022, image transfer on aluminium, 23.5 x 19.5 cmSelf Scan Polarised no. 1, 2022, dye sublimation print on aluminium, 100 x 100 cmNobody, 2022, image transfer on fibre reinforced concrete, 28 x 47 cmSoftware Portrait no. 2, 2022, image transfer on folded aluminium, 18.5 x 18.5 x 2.5 cm, The City of Sydney Art CollectionContoured Form: Landline, 2022, image transfer on MDF, 42 x 54 cmEnveloped Form: Reversed Hotlink Composition no. 2, 2022, image transfer on aluminium, 27.5 x 21.5 x 7cmContoured Form: Backyards, 2022, image transfer on MDF, 34 x 54.5 cmEnveloped Form: Triple scanned Composition, 2022, dye sublimation print on folded aluminium, 40 x 20 x 10 cmStructural Self Scan, 2022, image transfer on fibre reinforced concrete 47 x 28 cmContoured Form: Landline, 2022, image transfer on MDF, 42 x 54 cmvvvvvvv0.16666666667, 2022, copper plate etching with aquatint on Hahnemühle (framed), 36 x 36 cmContoured Form: No Place Between, 2022, image transfer on MDF, 34 x 55 x 2 cmReversed Composition: Shoes, 2022, image transfer on fibre reinforced concrete, 25 x 47.5 cmSelf Scan’s Possible Related Search: Art, 2022, dye sublimation print on aluminiun, 100 x 100 cmSelf Scan no. 2, 2022, image transfer on aluminium, 23.5 x 19.5 cmStructural Self Scan, 2022, image transfer on fibre reinforced concrete 47 x 28 cmReversed Composition: Shoes, 2022, image transfer on fibre reinforced concrete, 25 x 47.5 cmContoured Form: No Place Between, 2022, image transfer on MDF, 34 x 55 x 2 cmSoftware Portrait no. 3, 2022, image transfer on folded aluminium, 18.5 x 18.5 x 2.5 cm, The City of Sydney Art Collection