Marjan Moghaddam (USA / Iran) an artistâ€™s statement
As a computer-based artist and animator, I have been working with new emerging technologies since the 1980s, employing technological and visual innovation with a distinct signature. I approach my work as an artistic collaboration with the computer, in which I explore the sublime and metaphysical aspects of digital ontologies, in recognition of its nascent and Golemic potential. In this paradigm, I see a reflection of our own evolutionary process and our potential expansion beyond our current modes of existence in Post Humanist ways. This to some extent is the natural and inevitable journey of art, which has historically explored these greater existential ideas throughout the ages, and is now transposing them into a technological dimension. I am actively engaged in rethinking form for painting in the Post Millennial era, in a manner that reflects our hybrid digital and physical life. Working with still and animated projects that I describe as digital paintings, I define a pictorial space that is 3d CG and cinematic, with text and special effects. In contrast to the over-commercialization of new media and the resulting shallow culture it has produced, my works insist on a deeper dialog in which global, personal, political, technological, and philosophical dimensions interact poetically and powerfully in sublime narratives. The resulting work is sometimes akin to high fidelity, cinematic, Postmillennial, illuminated manuscripts with special effects.
Venus and Her Adonises, 2012. Digital Painting, 50â€? X
wood feature films, and VJ culture. I also write textual streams that are embedded in various pieces, using found text, personal chats, deconstructed writing, essays, poetry, and storytelling. These writings are inspired as much by the Sufi poetry of my Persian ancestry, as they are by contemporary social media style text. Each piece employs meticulous, high-fidelity, digital visuals, emphasizing miniature details and rich embedded worlds that are revealed only when the pieces are seen up close and in-person, as a physical approxi-
I work primarily with 3d modeling and rendering on the computer, using Motion Capture of improvised dance and direct audio-triggering of various parameters, working with the same technologies employed by commercial CGI, video games, Holly-