Hannah Berry
Regimes of the Haptic Gaze
My practice presents a micro-chronology of dialogues between Sculpture and CGI (computer-generated imagery). Salvaged and fabricated materials are combined to create immersive, low-tech assemblages: environments to treat the human encounter with the moving image as a corporeal experience.
Self-organisation and DIY are evidenced by the use of found materials and Blender (an open-source software). This also gestures towards contemporary modes of affect – as the immediacy of images are mediated by sheer scales of computational resources (The Data Sublime) and the labour divisions (The Sweatshop Sublime) which give rise to their production.
Somatic properties of the 2-D plane are paired with the economic properties of artefacts, as construction materials are salvaged from a city in a state of flux. Distressed objects bear their marks of transit, and occupy a status between tactical apparatus and bruised sculptural drawing. Material aspects of the installation echo CGI materials: liquid metal, scrapes and running water are re-routed as screen-used “outputs”, while their surface lust speaks to the quasi-cybernetic recognition of special effects conventions in cinema.
