Out of Our Skins

The adoption of 3D imaging techniques into fine art practice redefines conventional typological distinctions, including image and object categories, and proposes new methods of composition and aggregation. How do the instrumental tools of technologized sensing inflect knowledge production? Archaeological imaging practices, in this case photogrammetry, have been brought into the apparatus of art practice producing technical objects with a distinct and contingent temporality that operates between the mnemonic and the affective. What might be produced and deduced from accidental outcomes of the 3D process and through provocative misapplications?

Data objects and algorithmic cultures produce entirely new paradigms for artists, dissolving conventional disciplinary boundaries, producing temporal slippages and material problems. If digitised ‘pre-historical’ objects take on new lives, economies and qualities, and post-historic (contemporary) informatics cultures produce new materialities and collectivities, then my research seeks to articulate the interplay between the forensic practices of archaeologists and the pathologised spaces, weaponised imaging and vernacular modelling of gaming communities.

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