Digital-Material-Loop
Carrier Bags of Fiction, 2024, Hair ARI, installation view
‘DataCosmics’, Fiona & Sidney Myer Gallery, Installation view.
‘DataCosmics’, Fiona & Sidney Myer Gallery, Installation view.
Corinna Berndt, “All My Chameleon Signals”, interactive digital work of 3D scanned personal items, 2019 – ongoing. *Collaborative text, written with American poet and academic, Cynthia Arrieu-King, and an artificial neural network
︎View a screen capture section of the work here
︎view text format here
Between 2019-2021, I recorded approximately 300 personal objects via a mobile phone photogrammetry app. The objects in the archive might seem familiar, yet the descriptions and quotes attributed to them confuse this familiarity and therefore our understanding of the object’s meaning. This also shows a disruption in translation factoring into narratives around the archived object.
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Luminous Devices, 2024, Mars Gallery, installation view
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Carrier Bags of Fiction, 2024, Hair ARI, installation view
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‘DataCosmics’, Fiona & Sidney Myer Gallery, Installation view.
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‘DataCosmics’, Fiona & Sidney Myer Gallery, Installation view.
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‘DataCosmics’, Fiona & Sidney Myer Gallery, Installation view.
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Carrier Bags of Fiction, 2024, Hair ARI, installation view.
The work reimagines narratives that might emerge in digital record keeping through speculating upon their continuous relationship to the material world. ‘All my Chameleon Signals’ explores the potential of digital scanning to enable a hybrid materialisation of bodied and disembodied information. By extension, this process also invites an examination of the kind of languages, grammars and poetics that potentially govern these hybrid forms.
The work was partially developed in a space managed by the City of Melbourne’s Creative
Spaces program.
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‘DataCosmics’, Fiona & Sidney Myer Gallery, 2023, Installation view.
To scale 3D-Nylon print of my brain, bronzecast, 3D prints, resin, ceramics, neon light,
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︎View a screen capture section of the work here
︎view text format here
Between 2019-2021, I recorded approximately 300 personal objects via a mobile phone photogrammetry app. The objects in the archive might seem familiar, yet the descriptions and quotes attributed to them confuse this familiarity and therefore our understanding of the object’s meaning. This also shows a disruption in translation factoring into narratives around the archived object.
The work reimagines narratives that might emerge in digital record keeping through speculating upon their continuous relationship to the material world. ‘All my Chameleon Signals’ explores the potential of digital scanning to enable a hybrid materialisation of bodied and disembodied information. By extension, this process also invites an examination of the kind of languages, grammars and poetics that potentially govern these hybrid forms.
The work was partially developed in a space managed by the City of Melbourne’s Creative
Spaces program.
To scale 3D-Nylon print of my brain, bronzecast, 3D prints, resin, ceramics, neon light,
Corinna Berndt, “All My Chameleon Signals”, interactive digital work of 3D scanned personal items, 2019 – ongoing. Bus Projects, 2021, photography by Christo Crocker.
︎click here for Verge Gallery’s exhibition page
︎Corinna Berndt in conversation with Tesha Malott, Director of Verge Gallery, Sydney
Corinna Berndt, “Not Born digital”, installation view, 2021. Photography: Zan Wimberley
Corinna Berndt, “Not Born digital”, installation view, 2021. Photography: Zan Wimberley
Corinna Berndt, “Not Born digital”, installation view, 2021. Photography: Zan Wimberley
screen capture of “All My Chameleon Signals” (excerpt), interactive digital work of 3D scanned personal items, 2019 – ongoing. *Collaborative text, written with American poet and academic, Cynthia Arrieu-King, and an artificial neural network
Corinna Berndt, “Streaming Data”, installation View, SomoS, Berlin, August 2019. Photo by Zack X Soltes
Corinna Berndt, “Text(ure) Map”, digital collage, dimensions variable, 2020.
Corinna Berndt, “Not Born digital”, installation view, 2021. Photography: Zan Wimberley
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Corinna Berndt, Big Data, digital video, 2019.
Corinna Berndt, “Not Born digital”, installation view, 2021. Photography: Zan Wimberley
Corinna Berndt, “Digital collage all the photos found on my mobile phone”, dimensions variable, 2019.
Corinna Berndt, “Streaming Data”, installation View, SomoS, Berlin, August 2019. Photo by Zack X Soltes
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Corinna Berndt, Promises of Cyborgs, installation view, VCA Art Space, Melbourne, 2019. Photo: Andrew Curtis
Corinna Berndt, Promises of Cyborgs, installation view, VCA Art Space, Melbourne, 2019. Photo: Andrew Curtis
Corinna Berndt, Promises of Cyborgs, installation view, VCA Art Space, Melbourne, 2019. Photo: Andrew Curtis
︎View work here
︎View work here
Corinna Berndt, Jpg Fossils, 2021. Excerpt from a longer video which speaks to the idea of image/object/text relationships and everyday practices of naming.
Corinna Berndt, Promises of Cyborgs, installation view, VCA Art Space, Melbourne, 2019. Photo: Andrew Curtis
Corinna Berndt, ‘Collision Level’, installation view, St Helliers St Gallery, 2019. Photo: Andrew Curtis
Corinna Berndt, ‘Collision Level’, installation view, St Helliers St Gallery, 2019. Photo: Andrew Curtis
Corinna Berndt, ‘Collision Level’, installation view, St Helliers St Gallery, 2019. Photo: Andrew Curt