Bin Laden's Hard Drive
My latest project, Bin Laden’s Bookcase which involves the thermal printing of all the declassified images that were recovered from Bin Laden’s personal computer during the raid on his compound in Abbottabad, Pakistan. Each image was printed in a continuous line on 50m of paper into a clear Perspex box in which his images will remain.
Bin Laden's Hard Drive
Bin Laden's Hard Drive
Bin Laden's Hard Drive
Bin Laden's Hard Drive
Situation Normal, All Fucked Up
Each image was printed in a continuous line on 50m of paper into a clear Perspex box in which his images will remain.
Destruction, glitches and mistakes are usually avoided or feared. Situation Normal, All Fucked Up is a world where the glitch and the fragmented image are embraced as an opportunity for creation and expression. Here, the natives believe the glitch can reveal A new opportunity that indicates that something new is about to be produced.
Within the two channel video installation, the audience is guided through glitched and unfamiliar spaces by the native species known as Digital Mutants, the gods of these lands. While the viewer slowly travels through the glistening and buckling environments, they are introduced to the philosophy of this world and how the inhabitants learnt to accept and celebrate the glitch. Alongside the world, the viewer is presented with a second screen which shows a Digital Mutant known as Zhena. Zhenas' ever shifting and dislocated face appears as she informs the audience about the nature of her lands.
I was immediately intrigued and began to look further. This was the moment my project took form. I was so happy with the subject that I now believe it gave me such a boost of much needed motivation. I was genuinely excited to work on this project which I knew was a good sign.
For the past year, I have been exploring the role that the image has played on me throughout my life. Over this time, I had found great fascination with the idea of perfectionism becoming destructive. Within the project I wanted to pay homage to the process of things fucking up, to find catharsis in disintegration and to push digital artefacts towards the point where they become something new.
For the past year, I have been exploring the role that the image has played on me throughout my life. Over this time, I had found great fascination with the idea of perfectionism becoming destructive. Within the project I wanted to pay homage to the process of things fucking up, to find catharsis in disintegration and to push digital artefacts towards the point where they become something new.
I found inspiration from an online community that are determined to find and exploit accidental gaps that were made in the creation of video game maps. I saw these "gaps" as portals that transported the player outside of the designed map into a world far more interesting than the one the player was intended to be experiencing. In modern gaming development, these gaps are quickly noticed by the game developers and then patched, repaired. From this I imagined a world in which these accidental gaps are utilised and commemorated. Inspired by this topic, I have been finding and collecting digital glitches, errors and mistakes. These destructed artefacts would then be used to construct the spaces which can be seen in the world.
Within the two channel video installation, the audience is guided through glitched and unfamiliar spaces by the native species known as Digital Mutants, the gods of these lands. While the viewer slowly travels through the glistening and buckling environments, they are introduced to the philosophy of this world and how the inhabitants learnt to accept and celebrate the glitch. Alongside the world, the viewer is presented with a second screen which shows a Digital Mutant known as Zhena. Zhenas' ever shifting and dislocated face appears as she informs the audience about the nature of her lands.