Exhibition
Christopher MacInnes
Sticky Vectors
14-17 June 2018
Dissection Room
The Anatomy Rooms
Queen Street
Aberdeen, AB10 1AP
Dissection Room
The Anatomy Rooms
Queen Street
Aberdeen, AB10 1AP
www.christophermacinnes.com
Supported by Look Again, Creative Scotland, Aberdeen City Council and RGU Art & Heritage Collections. With thanks to Citymoves.
Images by Grant Anderson.
Supported by Look Again, Creative Scotland, Aberdeen City Council and RGU Art & Heritage Collections. With thanks to Citymoves.
Images by Grant Anderson.
Sticky Vectors by Christopher MacInnes creates a garden of contamination that draws on both the languages of networked technologies and microorganic life to envision a possible post-human future state of existence that expands upon the bodily context of the historic Dissection Room.
The installation comprises a micro-ecosystem of screens, computer cases, organic and plastic matter spread across the floor, clinging to the fixings of the space. Continually feeding on deep-neural nets that skim streams of information to independently produce strange, collapsed and ever evolving imagery. The garden visualises not only its own state of existence, but sets out to produce a loose narrative on its evolution and history.
Sticky Vectors attempts to refigure the notion of contamination as an ecstatic becoming, growing forth from our composted carcasses to create something new and in doing so proposes that progress might not include us.
Christopher MacInnes’s practice continually looks to deconstruct video and image media, and the infrastructures and processes that support it. His works push through the non-time of algorithms, and draw connections between networked technologies and the human/organic structures from which they both grow and influence in late-capitalism.
The installation comprises a micro-ecosystem of screens, computer cases, organic and plastic matter spread across the floor, clinging to the fixings of the space. Continually feeding on deep-neural nets that skim streams of information to independently produce strange, collapsed and ever evolving imagery. The garden visualises not only its own state of existence, but sets out to produce a loose narrative on its evolution and history.
Sticky Vectors attempts to refigure the notion of contamination as an ecstatic becoming, growing forth from our composted carcasses to create something new and in doing so proposes that progress might not include us.
Christopher MacInnes’s practice continually looks to deconstruct video and image media, and the infrastructures and processes that support it. His works push through the non-time of algorithms, and draw connections between networked technologies and the human/organic structures from which they both grow and influence in late-capitalism.