Things about where I am now

Overall in my process, I hugely draw from the Dada artists and their use readymade objects to “present intriguing overlaps and paradoxes” and in my computational practice, I am too,  “seeking to demystify  artwork [ computational art] in the populist sense but nevertheless remain cryptic enough to allow the viewer to interpret works in a variety of ways.”

At  the end of my journey into the MFA, my practice has drastically evolved in the sense this two years have revealed a purpose while giving me new tools and methodologies to achieve it. Learning how to use code to create art, rooted me in my contemporaneity. Writing an essay about how the Network interfaces act as theatrical masks, opened a field which I believe will be with me for a long time. 

“The code is a shadow bubble” installation is a practical result of my research about the Network masks. Where, last year was about me as a human performer behind the mask , this year was about non human performers , the crafted electronic artifacts, behind a network installation.

Thanks to the first year which taught me object oriented programming and to the open source community of hackers on Github, I was able to teach myself how to code in javascript and python and even how to use natural language processing and neural network programmation.

For this ultimate project in the MFA, I also had to learn how to create a Web server, the use of Github and Atom in my workflow and dig deeper into the Physical Computing.  The process to investigate deeper in a resarch subject and to translate it into an installation was a long and rewarding journey and although I collected a lot of material along the way I have not used everything in the final outcome.

In addition to make artistic choices and not to show everything I know, the difficult part was to stop prototyping, as I am a true crafter and was always tempted to add new resources or technics into my creative vessel.

In theatre making, until the act is performed , everything can change, and the embodiement of this process was sometimes painful as I felt streched between all the potential scenarii for my non human actors. Until they were fixed , soldered , I could potentially change the script forever. Being in the exhibition space helped me to rehearse the piece with the crafted performers and was crucial.