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Lizy Bending

unpleasent classification a manufactured article that materialized an abstract idea. I'm sort of convinced that new media technologies will eventually fill the dichotomy between Tradition and Contemporariness: what's your point about it? In particular, do you think that there's an intrinsic contrast between Tradition and Contemporariness?

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the two, although I’m not sure if I believe it will always be this way. Technology is a powerful tool, but so is the human hand. As I mentioned before, to me the most important part of artistic practice is to fit the medium to your message, whether this be a digital print, a sculpture or a traditional painting, you need to be sure of what you are suggesting and that the discipline you are doing this with is the best possible one to get your point across.

The main reasoning behind its influence in my work is that I felt it was silly to talk about contemporary society without embracing everything that is has become. I define my practice by my woodcuts but this is largely due to their historical references. I think when you are a contemporary artist, and specifically a socio-political one, no matter how traditional your aim is to be, you have to incorporate that contemporary stance in your work somehow.

While exhibiting a captivating vibrancy, your Manglayan Orbiter series seem to reject the explicit explanatory strategy that usually marks out your style: rather, you seem to offer to the viewer a key to find personal interpretations to the concepts you hint: rather that a conceptual interiority, I can recognize the desire to enabling us to establish direct relations... Would you say that it's more of an intuitive or a systematic process?

Another element that drew me to this subject, was again a reference to my dissertation, where one of my chapters was called ‘The Street vs The Cloud’ where I evaluated and compared street art and real world printmaking to that of the online domain. As my argument developed I realised within my writing that the two could in fact fuel each other, and this is just one of the elements that I feel makes printmaking unique. It is one of the only mediums that has embraced this contemporary change and adapted to fit around it… Survival of the fittest if you will!

This project, despite being created largely in the digital realm, actually happened in a fairly organic nature. I could not stop thinking about the real Manglayaan Orbiter that launched from India last year, and so I knew to a degree that I wanted to make a piece of work about it. However its adaption into a body of work involving digital prints, wall based work and then sculptural counterparts happened simply in response to conversations with others. A really vital part of UCA’s teaching is that they never let you settle on an idea that is simply good, they constantly strive for you to create something great, something new and often something a bit out there. I knew I wanted to delve deeper into the idea of the spatial potential of printmaking but I wasn’t sure how I wanted to achieve this, however after a few tutorials and crits it became clear that I was in fact limiting myself by traditionally hanging my prints on the wall. Who says that printmaking has to happen on paper and who says these prints have to live on the wall, what if I used objects, created sculptures, printed onto glass and titles, and mirrors and what if these sculptures sat on plinths or occupied floor space. Thinking about it, it was when I stopped playing by the traditional rules of artistic practice that I really found my flow

However as we open our eyes to the new possibilities that can be achieved with digital technology I think it will always be important to remember the traditional. To me although my work often involves both traditional and contemporary I think they do operate in completely different worlds… I don’t know whether I think you will ever be able to compare a life-size oil painting to an iPad sketch, or a Henry Moore Bronze to a photograph, but I think what technology has done is break down a barrier between the art world and the real world, thanks to digital cameras and iPad art almost anyone can have a go at creating, which I think is something that should be encouraged… However ultimately yes, I do think that there is an intrinsic contrast between

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Summer 2015

Profile for ART Habens

ART Habens Contemporary Art Review // Special Issue  

ART Habens Contemporary Art Review // Special Issue  

Profile for arthabens
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