Mariko Mori and Matthew Barney

I’ve found that Mariko Mori’s work embraces the digital.  She focuses on how humans may evolve and what brave new world technology awaits us.  In ‘Wave UFO’(1999-2002) you were invited to enter a gleaming interactive space pod to be connected to electrodes and have your brainwaves analysed and visualised on screen.  This is a more aesthetic example of how to digitally interact with the viewer.



Digital art, whether it be a through a narrative, an interface or a collection of shapes and colours has the ability to shift your perception and interact with you on a new level.  I feel that this ability for it to redefine itself as it progresses facilitates a greater scope for aesthetically realising a theoretical approach.  Visual imagery can run concurrently or consecutively enhancing the communication between the work and the viewer.

Matthew Barney’s work is an ongoing non linear narrative that needs to be broken down into cellular divisions to reveal its’ meanings.  The ‘Cremaster Cycle’ is five films, a 300-minute long project that consumed 8 years of his life and addresses many varied themes such as gender, sexual reproduction, Celtic mythology and opera.



The last picture is from ‘Drawing Restraint 9’ currently showing at the Notting Hill Gate Cinema starring his long time partner Bjork, and this work continues Barneys investigation into religious rite, this piece focusing on the Japanese religion ‘Shinto’




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