Round Lemon’s WORM exhibition saw an amalgamation of digital works made by various artists across the world. It showcased Digital Art in many forms: video, gif loops, interactive writing, digital collage and more. But what surprised me about this show was that it totally transformed my perception of what digital art actually is, giving me an insight into how the digital can be used as a tool to enrich an Artist’s practice in a multitude of ways.

So, what even is digital art? This is what Tate Says:

“Digital art is a term used to describe art that is made or presented using digital technology”

— Tate [1]

It’s self explanatory as to what medium digital art occupies, but I’m more concerned with why artists are choosing to develop their works in this medium. Is it just how Art is evolving with modernity? Or are artists using technology to be more inclusive and accessible? Perhaps aiming to provide an enhanced contextual significance to works?

As an artist practicing in 3D and tactile forms, the digital is an area of the art world which felt very unfamiliar to me. Despite growing up with technology, I feel that this discipline is still emerging as an art form, partly due to the rapid shifting of technology since the 1980’s. It still feels recent that huge advancements have occurred in the digital world, including the development of accessible VR and other interactive technologies. Although the direction of digital technology in art seems predictable to some, to me, it’s ambiguous.

I was invited to discuss the works of several artists in the exhibition, focussing on the ways in which their art is digital and why it is important. This felt like an overwhelming task at first as I haven’t spent a lot of time with digital works before. However the more time I spent with my chosen works, the more I understood why digital practices are a vital part of today’s Art World.

Here’s a comprehensive overview of my 6 Chosen Artists:

1. Namkor Studio

Examining physical bodies through the representation of the digital world

Namkor Studio’s ‘Variance’ series is a morphing of bodies into one another through the medium of video. Formally abstract but vibrant In their choice of colours, the bodies transition between different genders which reflects a wide measure of dispersed bodies. Yet, they diverge effortlessly between one another which questions our interpretation of the body and provokes notions around gender fluidity. Whilst the traces of these physical bodies are archived in a digital way, this begs to question: are our bodies still tangible in this digital sphere? Can our bodies become part of the digital, or only represented through the digital? Are our bodies beginning to morph with the evolution of technology?

2. Milos Peskir

Exposing fragilities of the digital world through visual and audio corruption of the ‘glitch’

Peskir’s fragmented sound and images complement each other to portray the corruption of the digital. Created from algorithms with no inherent pattern of glitch, the work is unpredictable and jittery, successfully conveying a distortion of technology. Whilst the ‘glitch’ in this case might expose the fragility of the internet, authors like Legacy Russel are now establishing the ‘glitch’ as a gap in which we can seek liberation and opportunity from [2]. Whilst digital error was once deemed as a failure, can this now contextually merge with the real world towards a new revolution? In what other ways is the digital fragile?

[3]

3. Dalena Tran

The Digital as both a tool and an Archival Window

Tran has two works which use the digital in different ways. Whilst ‘All things Found’ uses the digital as a tool in order to manipulate the data of the video, ‘Acts in translation’ is a participatory digital artwork which creates a moment in time, reflecting on the passing of time. During ‘All things Found’, Trans’ use of imagery is oppositional with the contrast of nature and fire, then both morphing into one. ‘Acts in Translation’ memorialises time in an inclusive way, where all viewers can contribute audio extracts to create differing live atmospheres. Whilst ‘All things Found’ was visually stimulating, I found ‘Acts in Translation’ richer in context which perhaps showcases the potential present and future of digital art.

4. Alexander Clarke

Interactive Fiction and Power Play

Alexander’s work showcases storytelling in a dynamic which toys with power. Presented in a digital game format, as the reader, you think you’re in control of the story. However, when you navigate through the game it becomes clear that the reader has lack of control of the narrative. Methodical in its layout, this type of format seems to have been influenced by yes/no magazine flowchart quizzes. It’s only in this digital capacity that there is a playful sense of decision making where the audience can interact with the work. This element of writing cannot have the same type of effect on a piece of printed text.

Read Story

5. Christophe Bruno

Science, Technology and Reconstructing Art Histories

*‘A childhood drawing by Leonardo da Vinci’*

Bruno’s drawing is taken from artificial intelligence reconstruction, analysing the life, biography and works of Leonardo Da Vinci. Through data complication, missing histories are formulated though this image - an 89.47% accuracy drawing of what DaVinci could have drawn at aged 3 is formed. The horizons of technology and modernity are ever increasing in their advancements as well as accuracy, which may lead us to filling in ‘gaps’ of history. This type of digital art forms scientific research, invesitgating lost archives which may lead to further discovery.

6. Hannah Stratford

A Fine Artist’s approach to Research and Development

Stratford primarily uses digital collage to support her writing practice. Whilst her seductive cut and paste compositions create artworks in themselves, they also create a visual stimulation of abjection, texture and ingestion. This digital medium is an excellent way to document ideas, contextualisation and thought process as an archive of idea generation. With Digital Collage being an advancement of mood boards, these techniques can be applied in other non Fine Art formats in order to stimulate new ideas.

*‘To Propose A Gentle Lick/Sweet Dreams in Mud and Rubble’*

To summarise, Digital Art is more than just ‘work made digitally’. Digital Art engages communities, provides vital scientific research, explores opportunity, plays with narratives, and so much more. Although Digital Art exists ‘online’, this medium invites a combined practice of both physicality and engagement through digital media In a complexity of forms. I don’t know what digital art is going to look like in 10 years time, but I’m hoping the impact of the digital will continue to create positive changes in our ever advancing world.

Bibliography:

[1] Tate (2021) Digital Art: Art Term. Available at: https://www.tate.org.uk/art/art-terms/d/digital-art

[2] Russel, L. (2020) Glitch Feminism. New York: Verso.

[3] School of Visual Arts (2019) Glitch Feminism: A Manifesto Available at: https://www.youtube.com/watch?v=DqNPgd5B3io

Artworks / Illustrations List:

[1] Namkor Studio (2020) Varience_1 [video] Available at: https://vimeo.com/551606405

[2] Peskir, M. (2020) Digital Fossil_Corrupt Galation [video] Available at: https://www.youtube.com/watch?v=1UqZOrxCrLs&feature=emb_imp_woyt

[3] Tran, D. (2020) Acts in Translation. [video] Available at: https://vimeo.com/411583013

[4] Tran, D. (2012) All Things Found. [video] Available at: https://vimeo.com/256176871

[5] Williams, B. Fun Quiz. Available at: https://www.pinterest.co.uk/pin/303570831105470938/

[6] Bruno, C. (2019) A childhood drawing by Leonardo da Vinci. Image Courtesy of the Artist.

[7] Stratford, H. (2020) To Propose A Gentle Lick [digital collage] Image Courtesy of the Artist.

[8] Stratford, H. (2020) Sweet Dreams in Mud and Rubble [digital collage] Image Courtesy of the Artist.