'BETTER OUT THAN IN' (2019)
Augmented Reality Installation (A0, 160gsm and 3000x3000 digital via 'Eyejack' w/Audio),
Post-Photographic Prints (A2)
'BETTER OUT THAN IN' is an AR based Interactive Installation and Post-Photographic Prints.
To be Exhibited on the 27th February 2020 at Verb Syndicate, Wollongong.
In the past few years, I have been documenting the live music scene in Wollongong and Sydney and Better Out Than In features photos from works spanning 2017 to 2019. Better Out Than In began as a journey of rediscovering processed negatives that weren’t scanned, photographs that were unused and forgotten. On concluding that they’re better out in public than kept in my archive folder, the work eliminates the arduous anxiety-filled curation process that social media imposes on me, and allows me the opportunity to spasmodically experiment the image forms.
Utilising 'EyeJack', an application available on smartphone devices by Stu Campbell and Lukasz Karluk, allows the ability to create and display animation through Augmented Reality (AR) technology. The AR process is an additional layer of artwork and communication, expanding static prints and allowing an audience to interact. Broadening the experience of glitch art and interactivity, the AR aspect holds a greater potential in marketing and advertising purposes, even at the niche level of the local music community. The interactivity aspect has advanced from my 'In Motion' (2017) project, generating QR Codes that link to an unlisted YouTube video when scanned by a smartphone, to play a 3D photo effect co-produced by a film camera from the 1980's called the 'Nishika N9000'. 'EyeJack' has simplified the creative implementation and user experience process of Augmented Reality via the dedicated applications; accessing different forms of art easy and affordable for both the user and artist.
Aesthetically, Better Out Than In continues the form of the slit-scan glitch using a flatbed scanner featured in my politically themed series of posters 'CNCRTE GRY'. Using my negatives in this process generates new shapes and colours due to the operations the scanner and software convert the film negative colour to present the image. The slit-scan aesthetic inspires 'extension' within context of the composition of the photograph and evokes movement, motivating the user to crave the movement. Playing on the form of the negative film strip, composition of the photograph and the repetitive process of the 'Nishika' camera allows a natural process of displaying in a zine-like format: A4, 4-fold brochure.
Further work can be manipulated through the EyeJack Augmented Reality creator process. This allows further development post release of a physical and finalised product, planned with the finalised Better Out Than In zine where users are informed of a new AR animation in the future. This is after-marketing the zine in such a way that further artistic implementations of augmented reality assets communicates a product that is an investment, in lieu for rapid content consumption; a characteristic of the current state of social media.
Better Out Than In is a marriage of my experimental communication processes, photography and continued exploration of glitch art. Having two tones of interactivity in the physical (Zine) and technological (QR to AR) are important perspectives of my body of work that further produces a blurred gap uniting analog and digital forms of content consumption previously portrayed in 2017's 'In Motion'.