From February 2017 through October 2017, LocoMotoArt invites curators, artists, art collectors and interested public to visit the studio at Aberthau Mansion for special private showingsof various artworks of LocoMotoArt.
The open studio works for viewing the art works of Loco Moto Art resident artists which explore spatial embodiment, interactive immersive environments, including gesture control, stereoscopic 3-D installations, large-scale digital mosaics, and photographic works created using a special program created by Rob Scharein called R-Combo. Much of this work is available for exhibition, purchase and as artist led workshops or artist talks.
The open studio works for viewing the art works of Loco Moto Art resident artists which explore spatial embodiment, interactive immersive environments, including gesture control, stereoscopic 3-D installations, large-scale digital mosaics, and photographic works created using a special program created by Rob Scharein called R-Combo. Much of this work is available for exhibition, purchase and as artist led workshops or artist talks.
WHAT'S ON DISPLAY
BARBIE GLITCH - Laura Lee Coles & Rob Scharein
In Barbie Glitch we see the exposed bodies of handsome men and fit and trim women dressed, partially dressed or naked. As the body parts intertwine, we see staring vacant eyes full of expressions yet expressionless. Are they in present time or not? Are they almost, but not quite human?
In Barbie Glitch we see the exposed bodies of handsome men and fit and trim women dressed, partially dressed or naked. As the body parts intertwine, we see staring vacant eyes full of expressions yet expressionless. Are they in present time or not? Are they almost, but not quite human?
Digital Mandalas - Rob Scharein - Stereoscopic 3-D installation
ORCHESTRA OF THE UNCANNY VALLEY - DINKA PIGNON
a sculptural video installation - video excerpts shown and short clips of other works of Pignon.
Photographs: Ash Tanasiychuk - VANDOCUMENT
Artist Statement: The uncanny is a territory one doesn’t know one’s way about in, making the viewer alert and engaged with the work in a direct, visceral way. The work is a reflection on “art as social phenomenon”, investigating issues of habitual thinking and categorical perception of art.
Uncanny Valley is a hypothesis in the field of 3D animation, robotics and human aesthetics -- it holds that human replicas (humanoid robots) are endeared by humans as long as the resemblance is not too close, i.e. as long as it is clear that the robot is just a robot – but, when a robot starts to look and act almost perfectly like an actual human being, a strong response of revulsion is provoked in human observers. The "valley" refers to the drop in comfort level of humans as a function of a robot's human likeness. ... Since the uncanny is both familiar and strange, it creates cognitive dissonance within the experiencing subject. Researchers have found that this is due to perceptual conflict in the brain, as the brain seems to always be looking for its expectations to be met - for appearance and motion/behavior to be congruent. ... There is a view that the Uncanny Valley could arise due to issues of categorical perception particular to the manner in which the social brain processes information.
In the installation Orchestra of the Uncanny Valley, I use “perceptual conflict” and “cognitive dissonance” as tools to make categorical perception and thinking difficult and keep the viewer suspended in intellectual uncertainty – to liberate them from preconceived notions about what they see and place them in a situation of ‘intellectual innocence’. The work can also be viewed as a ‘criticism’ of habitual and categorical perception of art.
Uncanny Valley is a hypothesis in the field of 3D animation, robotics and human aesthetics -- it holds that human replicas (humanoid robots) are endeared by humans as long as the resemblance is not too close, i.e. as long as it is clear that the robot is just a robot – but, when a robot starts to look and act almost perfectly like an actual human being, a strong response of revulsion is provoked in human observers. The "valley" refers to the drop in comfort level of humans as a function of a robot's human likeness. ... Since the uncanny is both familiar and strange, it creates cognitive dissonance within the experiencing subject. Researchers have found that this is due to perceptual conflict in the brain, as the brain seems to always be looking for its expectations to be met - for appearance and motion/behavior to be congruent. ... There is a view that the Uncanny Valley could arise due to issues of categorical perception particular to the manner in which the social brain processes information.
In the installation Orchestra of the Uncanny Valley, I use “perceptual conflict” and “cognitive dissonance” as tools to make categorical perception and thinking difficult and keep the viewer suspended in intellectual uncertainty – to liberate them from preconceived notions about what they see and place them in a situation of ‘intellectual innocence’. The work can also be viewed as a ‘criticism’ of habitual and categorical perception of art.
SPAZIO POSTO – LA MIA MEMORIA
SPACE AND PLACE - OF MY MEMORIES - Laura Lee Coles
Created using R-Combo, Laura Lee Coles manifests the memory of Rome, Italy, via place-based collages. We receive a glimpse into the memory of place (posto), and multiple trajectories of space (spazio) relationships. Ghosted or clear as if standing next to us, the genius loci of ancient pagan temples collides with religious frescoes from Renaissance churches. Doors, windows, stairways, architecture from various periods of history are intermingled with the images of people, the social interaction between the tourist’s gaze and the inhabitants day-to-day life activities in one of the world’s oldest cities.
These are but a few samples of work on display at the studio. Other artists: Merlyn Chipman and Dave Leith,