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Torus & Mark Prendergast stare at a digitally mediated sun in 3000 Mirrors

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Torus & Mark Prendergast stare at a digitally mediated sun in 3000 Mirrors

Developed from a earlier collaboration in between the two artists, 3000 Mirrors uncouples footage of the sun from its electronic footprint, reworking ghosting and lens flare into separately autonomous digital entities.

In the function of Mark Prendergast the world is considered in different ways. Utilizing various methods of digital image manipulation, the artist focuses in on the idiosyncrasies of the type of imagery that is inextricable from the present-day moment. From smartphone image stabilization algorithms to facet ratio pivots and movement tracking, in operates this sort of as EYE Tumble and his movie for Holly Childs and Gediminas Žygus’s collaborative keep track of ‘Hand Axe’, Prendergast playfully subverts the conventions of digital imaging resources and the languages that govern them, enacting an ongoing interrogation of the intricate textures of electronic aesthetics. This methodology is ongoing in 3000 Mirrors, his most current collaboration with Joeri Woudstra, superior recognised as the producer and seem artist Torus. Taken from his current EP for Tresor Documents, 333 Mirrors, the monitor is a non secular successor to ‘300 Mirrors’, which commenced existence as aspect of an audiovisual collaboration amongst Prendergast and Woudstra entitled These Cars and trucks Do Not Exist. In that get the job done footage of the sea and the sky, clouds and concrete, pigeons, seagulls and bats is warped and refocused to gently lysergic effect, approximating a smartphone lens eye check out of daily objects and animals. In 3000 Mirrors, footage of the sunlight is uncoupled from the artefacts of its digital footprint, reworking lens flare and ghosting into independently autonomous digital entities.

Torus & Mark Prendergast stare at a digitally mediated sun in 3000 Mirrors

“I was outside the house on a sunny day taking a photograph with my telephone, I pointed my digital camera at the sunlight and discovered that turquoise dot, an aberration of the lenses of the current iPhones,” describes Prendergast. “The flare was pretty existing simply because the graphic of the sky and solar was so very simple. This nervous dot is on a ton of our photos but it has sort of been folded into visible language and is now a little something we never see. It fades into the background, or truly foreground, of the graphic and I needed to give it some presence.” Opening on rolling clouds, evocative of the infinite scroll and the imperceptibly frictionless relationship we have with our screens, the radial flare of the sunlight implies a technologically enabled flattening of the star, it’s image digitally reproduced as visible influence. Just as Woudstra’s arpeggiated euphoria starts its serotonin spiking ascendency, the sunlight and its Apple iphone induced visual artefacts are divided, shifting as tracers disconnected from just one an additional, as while manifesting the stress concerning silence and sonic swell that drives Woudstra’s production. “As I was filming I was pondering about the idea of mediation,” Prendergast continues, “how by putting a camera in between me and the solar there was form of a game I could play. The camera gave me a new, augmented marriage with the sun.”

3000 Mirrors

“The sunshine and the dot turned one thing like a paintbrush, so there was a system of figuring out how to operate with it as a new medium, how to draw with it and what forms of marks it can make,” he proceeds. “I am taking part in with light-weight and how our eyes understand it, I assume the online video feels quite dazzling but it is no brighter than anything at all else on your display, which also arrives with the connotations of the solar. I think each the imagery and the new music are checking out abstraction and atmosphere. There’s a brightness to the track, and also a perception of striving to triumph over or push ahead which I truly feel is encapsulated by electronic methods enabling the sunshine a new sort of company. It turns into alive in a distinctive form of way.” Just as Woudstra reconfigures the ethereal splendor of the track’s ambience by stroboscopic loops and distant percussive crashes, Prendergast converts the aesthetic expertise of pointing your telephone at the sky into a generative approach, reworking an abstraction of the sunshine into the uncooked content of his visual composition. In 3000 Mirrors, the picture of the sunlight and the ephemeral turquoise dot that, by way of the Iphone lens, represents its digital counterpart are considered equally, each imbued with a new aesthetic autonomy, the length from the bodily object and its reproduced graphic obscured, recontextualised as digital canvas.

‘3000 Mirrors’ is taken from 333 Mirrors, which is out now on Tresor Documents. You can uncover Joeri Woudstra and Mark Prendergast on Instagram.

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