Digital Graffiti 2015 Finalist, Adam Forrester, answers questions posed by Curator, Brett Phares
*How did you find out about Digital Graffiti at Alys Beach?
A good friend and avid art collector told me about Digital Graffiti at Alys Beach.
*Have you participated in other projected art exhibitions? Where, and how did location play into the work?
Yes, my work has been included in these projected art exhibitions:
Videholica International Video Art Festival, Graffit Gallery, Varna, Bulgaria
Wayfinding Film Festival, Public Art Installation, Wassaic, NY | Portland, ME | Providence, RI
AIVA International Video Art Festival, Public Art Installation, Finspång, Sweden
ReCulture III: RISK, Skagiopoulio Foundation, Patras, Greece
Video Art Festival Miden, Historic Center of Kalamata, Kalamata, Greece
Echoes of Eco, 6th International Winter Festival of Arts, Sochi Winter Theater, Sochi, Russia
Double Vision II: Multi-Channel Video Art Festival, Herron School of Art and Design, Indianapolis, IN
REACH Film and Video Fest, Popcorn Noir, Easthampton, MA
THE 01 Video Art Review, Bunkier Sztuki Contemporary Art Gallery, Krakow, Poland
Atlanta Celebrates Photography Film Fest: Still Motion, Goat Farm Arts Center, Atlanta, GA
A number of exhibitions listed above were outdoor public spaces in an urban setting, and much of my work consists of imagery of the natural landscape. An urban setting juxtaposed with my work contributes to the contrast between the image of an unnamed man in nature and the side of a warehouse where he is projected.
*In the lineage of art history, where do you see projected art?
Projected Art is most closely related to the camera obscura. Aristotle wrote about projected light onto a flat surface in the 4th century BCE. I think projected art pays homage to the long history we have with projected images. In cinema, in galleries, and at public festivals, (like Digital Graffiti), projected art seems to have a permanent place as a focal point for a growing audience. As long as the technology exists I believe it is here to stay.
* Where do you see projected art headed?
I think it will become a part of a larger group of artists’ practice. Projected art is not simply limited to those with the resources (funding, crew, equipment) it has become somewhat democratized because of the availability and affordability of the technological tools required to make projected work. I believe more site specific work is in the future for projected art, because audiences seem to really enjoy the pilgrimages that often accompany site-specific work. At the same time, I believe there is a place for the small and intimate. I personally enjoy chances to interact with art in a more isolated intimate way. I recently saw James Turrell’s Pleiades at the Mattress Factory in Pittsburgh. This work begins with a dark hallway leading to an even darker room. There are two chairs and if you’re lucky there’s usually no one else in the room with you. Complete sensory deprivation. It was one of the most memorable and intimate experience with a work of art I’ve ever had.
*What got you started in digital art and how long have you been creating digital pieces?
I can remember my father and I making videos with the family VHS camcorder. I was fascinated by the ability we had to make videos involving “special effects,” such as the disappearing trick by stopping the recording, stepping out of frame and then starting the recording again with an empty frame. Seamless. Magic. While that was analog technology the principle of making small adjustments, exploring and embracing mistakes had been revealed to me and it still applies in digital art making today.