I N T E R F E R E N C E

Ayshia Taskin is an Intermedia artist with a practice spanning a multitude of techniques like building performative sculptures, latex modelling, digital art, moving image, VR world-building, printmaking, installation, web-based and Livestream/VR/Crypto-performance art and Blockchain NFT culture.

Her practice focuses on the use and merging of high- and low-tech production methods. For her, all methods playfully explored and experimented. Within her video work, Ayshia uses aesthetic ‘corruption’, glitch, 3D modelling software, generative, greenscreen, AI and data-bending to merge sci-fi and mythology with the interplay of both sides of technology by mixing the digital with analogue techniques.

These series of artworks represent a simulation of Andy Wauman’s existentialist cosmism. 

The title “Orbital Thoughts” alludes to the artist’s experience and comment on the current zeitgeist, and his endless passion towards 'Glitch Aesthetics'.

As an artist who hails from Antwerp, Belgium. Once the capital of avant-garde culture. Influenced by street culture, the club scene and situationist aesthetics the well-travelled artist who now resides in Bali has gone through a cosmic expansion which is now showing through his new media explorations.

His work now is a negotiation between polarities, the urban and nature, the secular and the religious, through observational poetics that reflect an anarchic wit and romantics enthusiasm towards the sacred and the profane.
Words by James Ly 

Linda Loh is a visual artist working between New York City and Melbourne, Australia. Her multimedia works navigate the elusive form and materiality of digital space with transformed sources of light.
In 2012 she received a Bachelor of Fine Art (Expanded Studio Practice) from the Royal Melbourne
Institute of Technology (RMIT) University, Australia. She has had solo and group exhibitions around
Australia and in the USA, with works curated into projection festivals, public LED billboard projects,
online events, screenings, art galleries and more. She has undertaken several artist residencies
around the world, including NARS in New York City, in 2018.
In 2021 she completed a Master of Fine Art in Computer Arts, at the School of Visual Arts in New York
City, and is subsequently participating in several exhibition projects.
Her work usually originates from everyday sources of light, which are then distorted and
transformed using digital tools, resulting in abstract composites of indeterminate forms. These are
perhaps slow moving, often colorful, and usually retain their inherent luminosity. Little is obvious for the rational mind to grasp. She connects the work to her research into histories of the sublime and
elusive non-ordinary states.

Disoriented is an audiovisual project that re-
elaborates the feeling of a confused young girl,
who lives in a lost world, evidenced by her
strange twisted positions. Another topic is that
of ‘vision’: in the video we often see her eyes,
reworked with more than one effect and also
fully field magnified in some frames.

Inspired by what stimulates me the most — emotions, illustration, music, and street art. I’m currently exploring new media art technologies ranging from 3DCG, generative art, and audio-reactive visuals.

Inspired by what stimulates me the most — emotions, illustration, music, and street art. I’m currently exploring new media art technologies ranging from 3DCG, generative art, and audio-reactive visuals.

Tik...Tok...Google Glitched Capitalism" (2021) is a video unpacking Google's creation of surveillance capitalism in the early 2000s through remixed current viral TikTok dance challenges. The video opens with a remix of Doja Cat's song Candy. The rewritten lyrics focus on how Google portrays itself through marketing and public relations. The second remixed song is Kesha's Cannibal with the remixed lyrics discussing data consumption and monetary gain. And the final remixed song is Meghan the Stallion's Savage which fully focuses on the effects of surveillance capitalism in today's society. The video also contains found video of scrolling on the app of TikTok to consider how we today operate within surveillance capitalism on social media and apps such as TikTok.

"Dayoobid; an Afrosurrealist short film, explores how disorienting identity building can be for a diasporic individual. Many young Diasporic Somalis often have to rely on other people’s stories and media. They may have few concrete experiences or references of their own to base their image of the culture. This can leave someone feeling lost as they try to piece together their cultural identity. So how can a Diasporic individual reconcile their vision of their culture with the one shown to them by various sources? Using a soundscape featuring a conversation between my father and I and distorted Morse code, as well as microscopic footage of dried water droplets Dayoobid attempts to visualize and answer that question."

The body is considered both a site and a sight, register of, and actor within the social and political realities within which it is situated. ‘The Cybergaze: On the digitisation of corporeality, space and feminist practices’ explores the use of feminist
premises in order to expand our understanding of bodily representation as a medium for progressing the methodology surrounding design of digital spaces.
As bodies affect and are affected by their immediate context, whether digital or physical, representation is key in reflecting over the embedded issues within the built environment in relation to corporeality. Disruptive mechanisms that allow for the representation of non normative body should be created, as well as spaces that allow for glitching bodies to resist perfect functioning. The body should begin to express itself in resistance to standardised spatiality. Thus, the project asks: what are the methods in which the cybergaze can refuse the pre-established biases and offer a neutral observation point for the female body through a critical engagement with both environments and bodies designed within digital softwares?
Drawing connections between representation and behaviour, a strategic occupation of the tools that make up environments which further perpetuate biases of the physical world is proposed. Intervening within the structure of digital space, by defining different ways of reacting to a simulated environment, conditions of our physical built surroundings are uncovered. In the process of redefining the space of the domestic through a translated physical experience within the digital, disrupting tools of spatial design reflect on traditional bodily representation and how that can be rejected in such space.

5000 Instagram video feeds are captured and simultaneously fed into a procedural algorithmic system. The video feeds are visualised in a new form as RGB and audio data.

The piece responds to the overwhelming nature of images we are subjected to on a daily basis, and abstracts the data further to create a new visual representation of the experience. The video feeds are combined to create a liquid like flow of RGB + audio data, creating a unnavigable image.   

Jääß (Jessica Pinhal) and /ckaya (Can Kaya) resurrect all your abstract childhood nightmares and capture fragments of an imagined post-apocalypse with this audio-visual collaboration. Discover familiar sounds in unexpected ways when losing yourself to Jääß's mesmerizing visuals soundtracked by /ckaya's unreleased debut EP "Krak FM".