Fanthome, C. (2008). Articulating authenticity through artifice: the contemporary relevance of Tracey Emin’s confessional art. Social Semiotics, 18(2), 223–236. https://doi.org/ 10.1080/10350330802002341
1. Tracey Emin’s art practice is influential to my own practice as it explores complex emotions through deeply personal memories and experiences. This article specifically gives me insight on her process and the importance of authenticity, and how Emin’s works “is a construction through which confession can find expression [thus developing] a mediated
creation,” (Fanthome, 2008, p. 233).
Jimenez, S. (2019). Sara Jimenez [Bio]. Retrieved from http://www.sarajimenezstudio.com/new- page
2. Sara Jimenez’ practice revolve around cultural identity, specifically her Filipino background. Her works hugely influence my own practice as they extract existing global narrative and concepts of origins. Specifically, her practice is described as “exploring the material embodiment of deep transcultural memories...to create visual metaphors...of forgotten artefacts,” (Jimenez, 2019).
Kabuay, K. (2018, June 8). Rediscovering an ancient script | Kristian Kabuay | TEDxPineCrestSchool [Streaming Video]. Retrieved from https://www.youtube.com/watch?v=oAGw4_dtAjQ
3. Kristian Kabuay’s practice explores pre- and post- Filipino culture and in this particular artist talk, he explains the importance of preserving the lost writing style of Baybayin—an idea that I have also incorporated as part of my practice. Furthermore, he expressed that “...language and writing systems are both connected to culture and without it, we wouldn’t truly understand the deeper meaning of our origin,” (Kabuay, 2018).
Smith, M. (2019). Martin Smith [Artist Statement]. Retrieved from http://www.martinsmith.net.au/ about
4. Martin Smith is another text based artist that inspires my practice. He combines vernacular photography and traditional story telling through hand-cutting the text from the actual photographic prints. This unique method develops the idea of sculptural photography which is something that I have done in the past through experimentation.
Metroarts. (2019). THE ARTIST: Olivia Lacey [Artist Bio]. Retrieved from https://metroarts.com.au/ love-me-love-me/
5. Olivia Lacey’s practice is similar to my own practice as she explores ambiguities that can arise in interpersonal interactions. Her work Love Me, Love Me engages with romantic dialogues as examples of intersubjective language (Metroarts, 2019). This influences the way I think about the idea and emotion of love, as well as a work that I have done (Love, X, 2019).
Steinbock, E. (2014). Photographic Flashes: On Imaging Trans Violence in Heather Cassils’ Durational Art. Photography and Culture, 7(3), 253–268. https://doi.org/ 10.2752/175145214X14153800234775
6. Heather Cassils’ is a visual artist that works predominantly with live performance, sculpture, and photography. The concepts that Cassils explore in his practice does not directly influence my own, however I am interested in the way he uses his body to make durational art that places the ‘component of time and its restriction at the core of the work, making the bodily endurance the focus,’ (Steinbock, 2014). This gives me insight in the different ways I could incorporate the body in my own practice.
Onuoha, M. (2019). Mimi Onuoha [About]. Retrieved from http://mimionuoha.com/
7. Mimi Onuoha is a Nigerian-American artist whose practice highlights social relationships and power dynamics through data collection. As Onuoha expressed, “in a world mediated by computers, everything begins to look like data [which ultimately] mediate our
experiences,” (2019). Her practice aligns with my current interests in regards to how data affect the way we communicate and form relationships.
experiences,” (2019). Her practice aligns with my current interests in regards to how data affect the way we communicate and form relationships.
Eaton, S. (2019). Artist+AI Lecture: Figures and Form [Video]. Retrieved from https:// www.youtube.com/watch?v=TN7Ydx9ygPo
8. Scott Eaton is an artist that explores the representation of human body using generative AI. He offers resources in his personal artist website that inform my practice in regards to digital sculpture mixed with the conventions of traditional sculpture. In this video, he expands on the possibilities and impact of AI in the art making processes.
Dean, M. (2019). Interview with Artist Mario Klingemann on Artificial Intelligence, Technology and our Future [Online Article]. Retrieved from https://www.sothebys.com/en/articles/artist-
mario-klingemann-on-artificial-intelligence-art-tech-and-our-future
9. Mario Klingemann is another artist who works with code and algorithms. In his practice, he tries to emulate and comment upon human imagination and aesthetics comparing it to how a computer process and categorise information. I find this process very interesting as it combines scientific and artistic processes together which is something that I am hoping to incorporate with my own practice.
Kontejner (2019). Interview with Katrin Hochschuh and Adam Donovan on the making of Empathy swarm [Video]. QUT Art Museum
10. Adam Donovan and Katrin Hochschuh are the artists behind Empathy Swarm (2019). I found this interview really fascinating and informative to my own practice as they went through the extensive research and processes that allow them to create a social interaction between human and robots using recognition algorithms and camera tracking.
