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During the time of the residency, we wanted to reflect how the landscape transforms and is in constant change and how it lets the invisible for the naked eye be recorded with the photographic camera. We claim that time is a speculation and a social construct that let our eyes be deceived in order to create meaning.

Supported by technological tools such as astronomical apps and the analog camera, we searched for the right spots to see and capture the milky way, star trails and the Polaris star in the Atina sky. We are interested to see how the different time exposures in the camera vary and affect the images, how the same frame changes over time and gives a different meaning to what we see: a new ontological experience with each photograph.

We wanted to create a conversation between the analog and the digital that blend each other in this complicated time where the boundaries of the existence of being are oscillating between those two: the material and the digital world. We use the analog to make an image more permanent, and the digital to use its data and manipulate it.

The final photo for the exhibition in Atina was a composite of 447 shots of 14 seconds each of the Polaris star. We edited the photo and transformed the negatives into 12 Cyanotypes and created a unique frame. These photos were the result of a Fibonacci formula applied for a single day.

*We applied for this artist residency as a duo with Sergio, we are called “Bright, Dark Matter”, for more information: http://facebook.com/brightdarkmatter

Installation shot at Parc Lima Art Fair

Installation shot at Khora

Statement:
“Orientation to the object” is a body of photographic work, which investigates the relationship between the object and the machine by analogue-digital collapse, leaving aside the human being. The quest for the object-oriented ontology inspired by Heidegger and coined by Harman radicalizes the work that is involved in an unreal context.
With the use of a photographic scanner to intentionally manipulate the analogue negative, I have found ranges of colours that interrupt the image with objects that are allowed to capture and achieve a reality beyond the anthropocentric understanding, this new meaning does not include a proposal but an upcoming reality.

Installation Shot Más Arte

Media: Digital photography with manual interventions, hologram on device.
Dimensions: photographs: 47 x 30 cm, 59 x 42 cm, 57 x 42 cm, 50 x 50 cm,
hologram: 12 x 10 cm.
Year: 2017

I have investigated the different characteristics of the human being when is online as well as the contemporary condition of the digital narcissus through the creation of a manifesto called “The digital self” as a starting point. Through several experiments over 10 months, I have examined the meanings of each point in the manifesto. This written statement was explored throughout video performances, WhatsApp conversations, a hologram and finally photographic self-portraits.
For the final exhibition, this body of work displays four portraits and a hologram which are a fragmentation of my connected self, just as they represent the universality of the “Post Internet”, tension. The artworks are manually intervened and this is because they are coming into the analogue sphere to inhabit a space beyond the digital.

“Almas de Montaña” translated in English “souls of the mountain” is a photographic body of work produced by me and Sergio Sarango, my partner and a landscape photographer based in Ecuador. We have been working together for the past three years and joined our separate practices in order to give a narrative to a concern as both artists and people: To confront a disconnection with the natural and the impossibility to reach nature without technological mediation.

“Almas de montaña” portrays the Ecuador of today, the one that has unalterable mountainous landscapes, with people who converse with their gaze, their passage through the world. An Ecuador of beliefs and syncretism, which, in the midst of popular festivals, and normal days, does not allow time to play against it.

This photographic show was exhibited at the Art Gallery of UNAM Chicago. from 1-7 November 2017. 350 W Erie St. Chicago, Il.

Statement

#Ideclare is a unilateral conversation that gives life to a Manifesto of the digital age. Accompanied by a series of images that narrate the book into three chapters:
#Ideclare, #IFightAgainst and #IHaveAVision (with an addendum at the end).
The book is a statement of antagonistic feelings that discover an internal and external struggle. There are situations created by technological mediation, such as the compulsive need to show oneself to others and a narcissistic feeling that involves constant interaction with social networks. In addition, the book depicts the need of the human being to reconnect with nature and the impossibility of achieving it.

The book was exhibited at CAC Centro de Arte Contemporáneo de Quito, from July to October 2017, was part of a group show called “Absorber la Ficción”.

Specifications
2017
80 pages
40 photographs
Hard cover, sew binding.
H/W/D
20.7 cm /15.2 cm/ 1.3 cm

Note:
*The book does not have a publisher. I have a very limited amount of copies that I self-printed before I exhibited the book. It is available for sale, please enquire at my email address brendavega0001@gmail.com or this form if you want a copy of the book.

I will regularly update the work in progress of my year-residency, currently taking place, at NODO house, by No Lugar, Arte Contemporáneo, in my hometown, Quito-Ecuador.

Artistas seleccionados Beca Nodo

Project Proposal.

The aim is to create a series of photographic and written sculptures (using text as a link between the material and digital realm), that will be part of a photographic installation that presents the characteristics of the “digital self” based on its Manifesto.
I will use “form” as a metaphor of the contemporary condition of the digital narcissus, that lives in its own world. I will create a portrait each month of the residency.
I want to reinterpret the post-digital notion with elements coming from a screen, or from an analogue machine, and also from a sculpture and make them coexist together, using this tension to create coherencies and incoherencies typical from the Post-Internet idea.

The digital self. A Manifesto

1. The digital self is defined through interaction and without it, no longer exists.
2. The digital self oscillates with its constant online performance, it does not have a single shape.
3. The digital self seeks stardom through a potential increasing audience.
4. The digital self needs affirmation, attention, something real.
5. Ignorance is a condition of the digital self.
6. The digital self, it is a slave of social media, an app bitch.
7. The digital self believes in its repetitive single condition.
8. The digital self does not have control on its own information, once it is out there, it is out there and then, who knows?
9. The digital self comes off to defend or offend what it believes.

If you want to check more regular updates of my project please go to this link: (bear in mind the text is in Spanish at the moment, as I am doing the residency in Ecuador).

https://casanodo.wordpress.com/portfolio/brenda/

Video piece: HD video, 02:08 minutes

This video piece was exhibited in London, LCC Studio Space at Elephant and Castle Shopping Centre, from 3th to 14th May, with special activities and guided tours.

“The digital self, extract I” is inspired by a Manifesto that underlines nine online personalities when interacting with the digital realm. This is a reflection of an anxiety feeling when constantly using the technological tools. The scattered words appear with no apparent order and calling for attention when there is too much to grasp. A glitched screen of nature is overlapped by different sources of sounds echoing a fake combination. The self is digital and interacts with different audio-visual sources while looking at a screen.
With special thanks to Heidegger, Foucault and Daft Punk.

Writing P h o t o g r a p h s

London College of Communication Studio Elephant & Castle Shopping Centre

This is a performance for the camera, but an inner performance as well. I am dropping my broken marbles into the sea, I said goodbye to the object that once was precious to me. This performance has its basis on the game “Fort-da” interpreted by Freud. He analysed the behaviour of his grandson, an eighteen-month-old baby, as a way of obtaining satisfaction by causing things to be “gone.”

Book: Freud, S. Beyond the Pleasure Principle, 1961, revised edition, London : Hogarth Press.

2016.

This work reflects on the inaccuracy of the past through repetition of fragmentized flowers. The interference of the image causes an error, something that is already corrupted.

The appropriation of the colourful canvas of flowers and the unexpected result of malfunctions makes the contemplation of the past, a longing, where time faded and broke.

Memories are always inaccurate. The error is within us.

This artwork was created specifically for the exhibition “26 Caledonian Road”, which I was chosen to participate along with 26 more artists.

More info:

http://26caledonianroad.tumblr.com

Yellow glitch

Blue threesome

Pixelated Flower

View of the Installation

View of the Installation – close up