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ART Habens

Eric Souther

What mostly appeals to me of this piece is the way your investigation about mythopoesis accomplished by cotemporary mass media conveys an effective sociopolitical criticism, mixed with a refined aesthetics in such a compelling way. In particular, I like the way you unveil the liminal area in which the subcounscious dimension and the perceptual reality seem to find an unexpected equilibrium: do you conceive it on an instinctive way or do you rather structure your process in order to reach the right balance?

There is a mixture of instinct with structure later applied in editing. Myth of the Masses was constructed at first in a large sequence of images that was datamoshed in a performative nature in real-time. It’s a reflexive process that is unpredictable in many ways, but I pay close attention to potential metaphors that later affected the script. For example the quote “They consume us as we consume them” has an image of a man eating in the foreground and as he chews his food the datamoshing displaces the background into the man’s mouth consuming him. After serendipitously finding these metaphors, I later structure them via traditional editing. Many contemporary artists as Edward Burtynsky or Michael Light use to convey social criticism, environmental activism and even explicit political messages in their works. Do you consider that your works are political in this way or do you seek to maintain a neutral approach?

I don’t consider my work political, but that’s not to say they are not. I am simply looking for ways to perceive or represent the ritualistic spaces of media. Pathways to new understanding of our digital and non-digital existence.

Myth of the Masses, Single Channel Video, 2012

most of your works, this piece is open to various interpretations: as the late Franz West did in his installations, your approach reveals unconventional aesthetics in the way you deconstruct and assemble memories in a collective imagery. Although

In "Myth of the Masses" you probe the evokative potential of the medium itself. As

Summer 2015

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ART Habens Contemporary Art Review // Special Issue  

ART Habens Contemporary Art Review // Special Issue  

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