[ISEA2011] Panel: Susan Collins – Here and There

Panel Statement

Panel: Data Disinformation

Susan Collins’s land­scape works exist as archives of im­ages or real-time pre­sen­ta­tions of im­ages gath­ered from point­ing a we­b­cam at a lo­ca­tion over a pe­riod of months to show im­ages on screen gen­er­ated by chang­ing pixel by pixel over about 21 hours in a day. This work pro­vides a time­frame as well as an in-depth study of a sin­gle land­scape. Pre­sented on the screen in land­scape for­mat the artist in­tro­duces rep­re­sen­ta­tion of time show­ing si­mul­ta­ne­ously day and night views of the same scene stud­ied and recorded over the course of the year.  This paper will show how the ma­nip­u­la­tion of data can in­tro­duce new de­vices and lan­guage to the tra­di­tion of rep­re­sen­ta­tion of land­scape.

  • Susan Collins is one of the UK’s lead­ing artists work­ing with dig­i­tal media. Collins works across pub­lic, gallery and on­line spaces. Her re­cent works mainly em­ploy trans­mis­sion, net­work­ing and time as pri­mary ma­te­ri­als, often ex­plor­ing the role of il­lu­sion or be­lief in their con­struc­tion and in­ter­pre­ta­tion. Col­llins has ex­hib­ited in­ter­na­tion­ally and works in­clude In Con­ver­sa­tion; Tate in Space (a bafta nom­i­nated Tate ne­tart com­mis­sion); Trans­port­ing Skies which trans­ported sky (and other phe­nom­ena) live be­tween New­lyn Art Gallery, Pen­zance in Corn­wall and Site Gallery Sheffield in York­shire; and The Spec­trascope, an on­go­ing live pixel by pixel trans­mis­sion from a haunted house. In 2009 she ex­hib­ited Seascape , a solo show at the De La Warr Pavil­ion, Bex­hill-on-Sea, com­mis­sioned by Film and Video Um­brella and the De La Warr Pavil­ion and re­cently com­pleted Love Brid, a short film for An­i­mate Pro­jects. Susan Collins is cur­rently the Di­rec­tor of the Slade School of Fine Art, Uni­ver­sity Col­lege Lon­don where she es­tab­lished the Slade Cen­tre for Elec­tronic Media in Fine Art (SCEMFA) in 1995. susan-collins.net

Full text (PDF) p. 502-504