ADA – Aotearoa Digital Arts Network Artbase

$↪︎I↩︎ (Within Web of Mask) employs first-person 360-degree panoramic videos as a medium and method of practice, proposing that the "self" is a fictitious concept and exploring how it profoundly influences our illusions and ideologies. By presenting three VR scenes constructed based on the web, characters, symbols, and digital sculptures, the artwork delves into the intersections of self-fictionality, trauma in identity perception, and phenomenology in digital narrative. These scenes incorporate the artist's own body digital scans, virtual self-portraits, and colossal avatar, reflecting the digitization and concept of a fictitious self. Simultaneously, it articulates the complexity of the unconscious realm's self-structure and the fractures in perception, aiming to constitute possibilities for critique in simulation and identity.$

Xi Li李曦, ↪︎I↩︎ (Within Web of Mask), 2023

↪︎I↩︎ (Within Web of Mask) employs first-person 360-degree panoramic videos as a medium and method of practice, proposing that the “self” is a fictitious concept and exploring how it profoundly influences our illusions and ideologies. By presenting three VR scenes constructed based on the web, characters, symbols, and digital sculptures, the artwork delves into the intersections of self-fictionality, trauma in identity perception, and phenomenology in digital narrative. These scenes incorporate the artist’s own body digital scans, virtual self-portraits, and colossal avatar, reflecting the digitization and concept of a fictitious self. Simultaneously, it articulates the complexity of the unconscious realm’s self-structure and the fractures in perception, aiming to constitute possibilities for critique in simulation and identity.

November 13th, 2023

Embedded Symbols in Neither Space: Xi Li 李曦 in conversation with Sophie Davis

Based in Tāmaki Makaurau, Xi Li 李曦 is an interdisciplinary artist from Harbin, China. Her practice includes film, digital images, photography, sculpture, installation, performance, 3D animation, VR and game design. Over the past few years, Xi has developed a body of work that explores the possibilities and existential questions posed by digital media and digital cultures […]

November 13th, 2023

iForm

JAMES CHARLTON and COMOB, 2010
A process-based work that visualizes 3D forms from GPS data generated by the movement of iphone participants through the landscape.

March 19th, 2010

Huis Clos/No Exit – Jam

HELEN VARLEY JAMIESON (participant)
A performance screened at the HTTP gallery, London. Performers in Paris, Madrid, Hailuoto & Wellington were given a colour, and had four objects corresponding to one each of the colours. Our task was to perform sound whenever our colour appeared in someone’s web cam. We could choose which colour to show when, but we should try to listen to the piece, not to have one colour dominating, & not to show our selves.

February 12th, 2010

TradeAir

JAMES CHARLTON, 2009
TradeAir establishes a real time link between gallery visitors and the artist in his Auckland studio allowing for the collaborative inflation of rubber forms located in situ at Artspace.

November 20th, 2009

Postcards for Garland Briggs

AARON AND HANNAH BEEHRE, 2007.
Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
“Not quite a velvet painting and certainly not a screensaver, Postcards for Garland Briggs introduces us to the virtualised world found in the spaces between the screen and the canvas”.

August 29th, 2008