Freddie + Jihoon + Josh have come!
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curation: Jihoon Son
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SHOW
[Freddie]
I would like to show a video installation with sound.
I would also like to show some hanging material size 145 x 240cm, which is see through with text on it “STOP TREATING US LIKE IDIOTS” The material will have a very large image of my face on it, and is see through as I have nothing to hide and everything to stand for. Through the material you will be able to see the vinyl lettering on the wall chanting “CHAV<<CHAV<<CHAV” .
I would also very much like to have vinyl text on the walls with various size and colours with the text CHAV repeated alot. {Logistically I will need to send the material, as soon as possible so will need address. The vinyl lettering I could send money and it could get printed in Seoul as would be easier.}
Let me know your thoughts.
[Josh]
The VR painting space holds new horizons for painting in the fourth dimension and to take it beyond its previous boundaries. This exploration of the VR space in collaboration with AI networks such as deep dream, deep style and GAN's allows for new and novel art works to be made and a 'new aesthetic' to emerge. In the creative pipeline I use the products I create as input for the AI's and in turn use their output as my input in this way a cyclical process of feedback is created which I argue constitutes a creative collaboration between artist and AI.
I would like to collaborate on an exhibition of the Virtual Reality paintings made with Artificial intelligence as a showcase of the current potential for these bleeding edge technologies and the ability for them to change the way we make, distribute and receive painting. Attached are some examples of my AI/VR paintings. The 2d/360 Videos can be played on screens (the 360 video can be played on a google cardboard if you want to achieve the 360 degree effect) and the images can be printed out and presented I am happy to leave the display to the curator.
[Jihoon]
My work relates to the idea of memory and fantasy through the expression of concealed inclination, daydreams and fears. They include my interpretation of boyhood and immatureness into fetishism that I have personally experienced and have longed for. The creative practice is therapeutic in provoking taboos and peeping the issue of voyeurism through the attitude of outsider-art. My practice consists mainly of drawings with watercolor paint. Occasionally I appropriate my images by printing in large scale in order to install them in a space.
TELL
[Freddie]
I would like to tell the world, that CHAVS are ok, and although we may not talk correctly, or be pretentious in anyway, we as a breed are very decent and not stupid at all. CHAV forever and always. CHAVs are very much demonized within the UK as the lower-class, the stupid ones, however, this has got to stop! WE are proud of who we are and are fed up of being treated like fools. Within this work the British class system is very much getting discussed and challenged. We don’t talk like you nor do we want to!
[Josh]
We live in an ever-increasing digital culture (Gere, 2008) and the fourth industrial revolution is happening right now (Brynjolfsson and Mcafee, 2014). We can see evidence of this in our everyday lives with artificial intelligence systems integrating into our society such as Apples’ Siri or Googles’ Assistant, Amazons’ Alexa, Ubers’ self-driving cars as well as publicly available access to Virtual Reality spaces with the HTC Vive and Oculus Rift. This will ultimately culminate in a technological singularity (Kurzweil, 2006), which will completely change our society and the fundamental beliefs we hold within it (Goertzel and Goertzel, 2015
I am an artist working with painting in Virtual Reality with Artificial Intelligence as part of my PhD research into the impact of these bleeding edge technologies on contemporary painting practice at Glasgow School of Art. My work focuses on the impact of these as 'new tools' in contemporary painting which create new methods and methodologies in the production distribution and reception of painting. I am also interested in how these bleeding edge technologies can enable emergent story telling through painting in the gallery setting. I use Virtual Reality as a space to react to the current state of our society and weave lines of enquiry together to create a tapestry of folk lore reacting to the cultural evolution's and shifts we observe in our everyday lives. Through social media and our ever-increasing absorption into a digital culture we create worlds of our own which we use to mediate and shape our experience of reality. Virtual Reality holds new before unreachable frontiers for painting such as painting in the fourth dimension and dissolving the hierarchy of the artist to observer power structure as the observer dictates the way they move through the space and what the choose to focus on and potentially becoming a participant in the creative process as they leave imprints of their actions in the space. This combined with triggered events, AI characters and interactive elements shape the experience and fundamentally change the way artist and audience experience and understand what painting is and can be.
[Jihoon]
Catastrophe, humiliation, physical abuse and tragedy are inevitable states. Although this notion may seem embarrassing, unpleasant, or even violent, it can also give rise to voyeuristic gazing with pleasure from the collective unconsciousness. i.e. it is deeply linked with the feeling of relief at the fact that heinous acts are remote from us. For me, this is usually a bizarre notion and feels as though I am daydreaming: a chaotic mixture of social stigma and individual trauma, inherited and experienced by both culture and individuals in both virtual and real space.
I would like to tell the world, that CHAVS are ok, and although we may not talk correctly, or be pretentious in anyway, we as a breed are very decent and not stupid at all. CHAV forever and always. CHAVs are very much demonized within the UK as the lower-class, the stupid ones, however, this has got to stop! WE are proud of who we are and are fed up of being treated like fools. Within this work the British class system is very much getting discussed and challenged. We don’t talk like you nor do we want to!
[Josh]
We live in an ever-increasing digital culture (Gere, 2008) and the fourth industrial revolution is happening right now (Brynjolfsson and Mcafee, 2014). We can see evidence of this in our everyday lives with artificial intelligence systems integrating into our society such as Apples’ Siri or Googles’ Assistant, Amazons’ Alexa, Ubers’ self-driving cars as well as publicly available access to Virtual Reality spaces with the HTC Vive and Oculus Rift. This will ultimately culminate in a technological singularity (Kurzweil, 2006), which will completely change our society and the fundamental beliefs we hold within it (Goertzel and Goertzel, 2015
I am an artist working with painting in Virtual Reality with Artificial Intelligence as part of my PhD research into the impact of these bleeding edge technologies on contemporary painting practice at Glasgow School of Art. My work focuses on the impact of these as 'new tools' in contemporary painting which create new methods and methodologies in the production distribution and reception of painting. I am also interested in how these bleeding edge technologies can enable emergent story telling through painting in the gallery setting. I use Virtual Reality as a space to react to the current state of our society and weave lines of enquiry together to create a tapestry of folk lore reacting to the cultural evolution's and shifts we observe in our everyday lives. Through social media and our ever-increasing absorption into a digital culture we create worlds of our own which we use to mediate and shape our experience of reality. Virtual Reality holds new before unreachable frontiers for painting such as painting in the fourth dimension and dissolving the hierarchy of the artist to observer power structure as the observer dictates the way they move through the space and what the choose to focus on and potentially becoming a participant in the creative process as they leave imprints of their actions in the space. This combined with triggered events, AI characters and interactive elements shape the experience and fundamentally change the way artist and audience experience and understand what painting is and can be.
[Jihoon]
Catastrophe, humiliation, physical abuse and tragedy are inevitable states. Although this notion may seem embarrassing, unpleasant, or even violent, it can also give rise to voyeuristic gazing with pleasure from the collective unconsciousness. i.e. it is deeply linked with the feeling of relief at the fact that heinous acts are remote from us. For me, this is usually a bizarre notion and feels as though I am daydreaming: a chaotic mixture of social stigma and individual trauma, inherited and experienced by both culture and individuals in both virtual and real space.
