The Mnemonic Mirror,
Group exhibition curated by Kylie Banyard and Gary Carsley,
Griffith University Art Gallery, Brisbane, 8 Dec 2016 - 11 Mar 2017
UTS Art Gallery, Sydney, 10 May—1 Jul 2016
"Once reserved to the edges of the mind, the introduction of the internet and the manic storage of great reserves of data has made past actions and memories easier to access and account for. As a result the past can now be accessed in the present, accounted for and used as a source to determine future actions.
An artist-led curatorial project by Kylie Banyard and Gary Carsley, the selected artists whilst ranging in direction and mediums, are linked by their visual enquiry into the state of memory. From various multimedia to installation the artists involved are, Aaron Seeto, Robert Pulie, Debra Phillips, Archie Moore, Clare Milledge, Linda Marrinon, Deb Mansfield, Emily Hunt, Tony Clark, Troy-Anthony Baylis and Kylie Banyard...
Addressing the increasingly blurred lines of the past with the present through the introduction of data and the internet, Clare Milledge created a specifically commissioned work for the show, Self-Reflexive Critique: Alpha Mu. Adopting the medieval painting technique, Hinterglasmalerei, Milledge applied paint to a piece of glass from the reverse side from which it will be viewed, listing various Tinder entries in white paint.
Whilst dating is traditionally a human and personal experience, the intersection of the third party dating app has abstracted this interaction. Tinder is a location-based dating app launched in 2012 that enables direct communication between mutually interested users. However, the use and the meaning of dating as a result has been increasingly diluted. As the artist references, in January 2016 DMR (Digital Marketing Ramblings, Boston, Massachusetts) estimated that there were more than 50 million tinder users worldwide of whom 79% are millennials).
By applying an analogue action to the digital Tinder dating experience, Milledge engages with the tension of the analogue, physical experience of dating that is abstracted through the digital experience of a pixelated image on the Tinder app. The analogue technique greatly differs from the digital uniform text that appears on a screen, the viewer is aware of the artist’s brush and the immediacy of the artist’s action that cannot be mimicked or replicated. Whilst the app depersonalises human engagement – where an individual can be rebuffed by the swipe of a finger – it also records and stores the actions, decisions and preferences of each user on the international dating app. No longer is dating a fond memory, or an awkward date to be quickly forgotten, it is now stored as data to be analysed and surveyed." Lucy Stranger, Artist Profile
Hinterglasmalerei (behind glass paintings) based on geographically specific ecological surveys of vertebrate species using the phone app Tinder and human translations of other vertebrate species calls.
Surveys have been conducted in the following locations:
BYRON BAY (AU)
25 km radius of Broken Head
SYDNEY (AU)
25 km radius of Marrickville
Text by Astrid Lorange here
Research has been conducted with the support of and in affiliation with UNSW Art & Design.
Self-Reflexive Critique: Alpha Mu, installation view UTS Gallery, acrylic on glass, dimensions variable, photography by David Lawrey
Self-Reflexive Critique: Alpha Mu, installation view UTS Gallery, acrylic on glass, dimensions variable, photography by David Lawrey
Self-Reflexive Critique: Alpha Mu; 2016; installation view UTS Gallery; acrylic on glass, dimensions variable; photography by David Lawrey.
Self-Reflexive Critique: Alpha Mu; 2016; installation view UTS Gallery; acrylic on glass, dimensions variable; photography by David Lawrey.
Self-Reflexive Critique: Iota; 2016; UTS Gallery, oil on glass, paint rag, bronze; photography by Jessica Maurer
War Memorial (VIC); 2014; UTS Gallery; oil on toughened glass, acrylic on hessian, plastic packaging and tape, bronze; photography by Jessica Maurer.