digitalgraffiti the latest
Leading up to the festival, we’re highlighting the participants in Digital Graffiti 2018. Join us and learn about these incredible artists from all over the world and what informs their artwork. This week, we’ve got Q&As with Jesse Woolston from Los Angeles, CA, and Tori Lill from South Melbourne, Australia.
Artist: Jesse Woolston
Location: Los Angeles, CA
Project title: “Structure”
How did you find out about Digital Graffiti at Alys Beach?
I was referred by a friend who has attended Digital Graffiti. I was ignorant to the fact that a town painted white existed, and that on a yearly basis is experienced as a projection festival. That idea alone spiked my interest.
Have you participated in other projected art exhibitions? Where and how did location play into your work?
Specifically around projection, I recently was part of a motion design installation in Mexico City during Visual Art Week. My work was projected onto their open-air outdoor cinema. In addition to that, my last album release was a combination of projected art through materials and musical improvisation. I’ve found being able to change the design through the use of materials is a very interesting concept. For example, a simple brick surface can completely change the shape of your work.
How much technology is required to create your work?
Almost all of my work now is done using 3D programs, 2D image editors, and render farms. For the piece at the festival, I intentionally used sculpture and shape to dictate how the technology is used. The inspiration came from a more traditional approach to art.
What else can you tell us about your work, for example use of color (or lack of), rhythm or texture?
The work I enjoy always leans toward a more minimalistic aesthetic, which seems to bleed throughout.
I often ask myself if the message I am trying to portray can be more refined or stripped back. It’s brought me to a place where I understand my interest in contemporary and modern sculpture.
Even when painting, there is something about a single stroke of paint I enjoy. With both my art and music, I apply the same approach: simplicity.
What do you find most remarkable about projected art?
How the environment can augment and warp the intended piece of work. Every piece you get to experience when it’s projected has its own variation for that one moment. Scale is also an area I am fascinated by, large projections are intense and can be overwhelming to the viewer especially when experimented with distance. In saying that, smaller projections and the use of light can be the art piece in of itself.
How do you see expanding your use of projection for your art?
I intend to use projections not just as a form to create at a larger scale but more in my installations as a way to interact with the audience through light & shadows. To me, projection is comparable to a variant on the tool you choose to present your work, it’s much like the process of framing a painting: A particular color or size can affect the viewers experience.
Artist: Tori Lill
Location: South Melbourne, Australia
Project title: “Brighter Side to Display”
How did you find out about Digital Graffiti?
Through a friend, Yandell Walton, who has participated in Digital Graffiti a few times before.
Have you participated in other projected art exhibitions? How did location play into your work?
In 2017 I was involved in the Gertrude St Projection Festival in Melbourne. It was the first time I’ve exhibited my work in such a public domain (on the street), so naturally the work changed as a result of this. Because of the luminosity and the colour involved in the work it was easily seen from a distance, which played into my fascination behind the push and pull of desire in the face of nature.
How much technology is required to make your work?
Generally, I only need an iPhone. With this work I used photoshop and Final Cut as well.
What else can you tell us about your work, use of colour, etc.?
Working in the realm of photography, video and installation, my work broadly explores notions of the in-between both physically and psychologically through distancing, (lack of) touch and removal of the self. Through interrogating the relationship of image and self, and image and viewer—I seek to scrutinize the act of contemplation and embodied experience. Through the use of deceptive filming processes, my video work “Brighter Side to Display” aims to disrupt self-reflection and induce discomfort. A reminder of our future as the sun sets. A reminder of our desire to find solitude. A reminder of the psychological turmoil we face in its pursuit. Colour plays a significant role in all of my work; in “Brighter Side to Display,” it assists in the contemplative elements of the work as well a draw card for passersby to take a closer look.
What do you find most remarkable about projection art?
The interactive elements due to the public access to it.
How do you see expanding your use of projection for your work?
Because of my fascination with light and proximity I think I’d like to explore projection more as a tool for making instead of a tool for displaying