-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Ivona TauAnd the Sun left the Moon and they shared custody of Earth, 2024Work created by training a custom GAN on diffusion-generated
images controlled by the shapes of Pagan symbols.
4096 x 4096, 00:30, Animation, Generative Adversarial Network (GAN) -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Marco GrassiGold Experience, 2024Oil and resin on aluminium with 24K gold leaf.200 x 150 cm
78 3/4 x 59 in -
-
Kat AustenHow to touch a dragonfly, 2023-4Wall-mounted Relief Sculptures Comprising: Aluminium, LEDs, Electronics, Laser-Cut Hanji, 3D Printed PLA, Video and Sound
"When I was a child, there were dragonflies everywhere." This recollection opens How to Touch a Dragonfly, an immersive installation that unfolds at the intersection of memory, ecological change, and technological vision. The installation brings together traditional Korean craft, cutting-edge media, and deep ecological research to create a sensorial environment where visitors are invited to experience the world through the perspective of a dragonfly—an ancient, migratory insect now profoundly impacted by anthropogenic transformation.
At the core of the installations is the concept of a low-resolution screen composed of individual hexagonal “pixels” that echo the lenticular structure of the dragonfly’s eye, playing a narrative video and soundscape exploring landscapes changing due to human actions. These pixels are created by video-mapped LEDs shining through folded Hanji—handmade Korean paper crafted for the piece by artisans at the Jeonju Millennium Hanji Museum. The result is a visual system that resists high-definition spectacle, favouring embodied intimacy and fractured vision. Visitors step into a world that translates motion, colour and vibration as dragonflies might experience it.
Juxtaposing Cheongsan Island, a farming area designated a Globally Important Agricultural Heritage Site, with urban spaces in Republic of Korea, the work explores the relationships between land use, climate change and insect migration. It draws on interviews with elders from Cheongsan Island and field recordings of dragonfly habitats, weaving together past and future, memory and data, emotion and environmental change.20 x wall mounted sculptures: 15 x 20 x 10cm
large wall-mounted relief sculpture: 1.5m x 90 cm x 15cm -
Sofia Crespotemporally uncaptured, 2023-2024Neural networks, cyanotype prints, digital video'Temporally Uncaptured' is a series of works that delve into a speculative realm at the advent of the camera, where the sequential capture of images brought to life the stills painstakingly illustrated from observations. The work focuses on the often imperceptible temporal transitions in the life cycles of organisms, including but not limited to, the microscopic.
A system of neural networks was used to generate images that capture the diversity of the organisms' shapes, not through direct observation, but through the distillation of historical archives of their early depictions. The resulting videos consist of frames, which were hand printed by the artist using the cyanotype technique and later digitised.
Furthermore, this series of works was inspired by Anna Atkins and her book 'Photographs of British Algae’, from 1843. The importance of Atkins work, whilst obvious now, was at the time a very difficult endeavour wherein the pivotal work of female scientists was ignored, misattributed, or otherwise downplayed. -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Page
6
of 20