Datafied, 2018 installation detail of Triple
Goddess and Shred digital photographs
I am interested in how digital technology is redefining art, fashion, and the body.
If art in the analog past was contingent on location, what kind of art will artists make for a datafied mobile future that has a different relationship to place? Fashion communicated status and desire until the cell phone became the carrier of all information, with no wardrobe required. How will fashion be redefined for a mixed reality that is both material and immaterial? These are the basic questions in my three works in <Decode> Artists Policing Data.
In Datafied, I have juxtaposed 3 sets of textile neckwear on sculptural watercolor supports with 6 digital prints of the same work interpreted by an iPad camera. When the textile neckwear is worn, the body becomes a mobile site for art while the watercolor occupies the wall. In making analog art I enter into a complexity loop in which the outcome is not programmed. In the Shred series of digital prints, a surprising reality shows up that is both representational and abstract. Pixels have been added in places by the code when I didn’t follow the rules built into the camera.
I believe that the digital Grid with its bits of data that can be replicated is a model of abundance and generosity. But is digital data reliable if data will always be incomplete?
The video Dressy Potholder Hat is a reference to the underlying grid structure in art, fashion, and technology. The humble potholder representing women’s work is uplifted by jewels and fine fabrics to the status of a crown, while the weave structure is the Grid. It is a contradiction: kitchen items are hardly dressy, and the minimalist Grid in art was a serious game changer. The hat presents a visual dialectic between art and artifact, actor and audience.
Fashion Lab in Process is an installation on a work table that brings together text, textile, and various tactile artworks to express my concepts about fashion as information that sometimes becomes art.
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