Select a SchoolSchool of Arts & Humanities
Select a ProgrammeContemporary Art Practice
Select a StudentSamuel Capps
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We are approaching a new cultural age where everything is becoming blurred, causing a shift away from the fragmentation of postmodernism into amalgamated dualities – existing at the same time.
In Frederic Jameson's analysis of the advancement in power technologies relating to cultural shifts, he relates the machine production of steam powered motors and the start of Realism in 1848; the production of electric and combustion motors in the late 19th century, bound to the birth of Modernism; and to the nuclear energy in the 1940s and 50s, which coincided with the start of Postmodernism.
Following this format, our current development of nuclear fusion represents this new cultural amalgamation, standing in contrast to the postmodern atomic reaction of splitting the atom. We are positioned to radically alter the way, in which we perceive and define our environments, and we have already begun our perceptional and cultural shift to a new sub-dimension.
Natural barriers have now been smashed by computer generated portals, which allow us to gain spatial perspectives that are not physically available. Advancements in biotechnology will begin to deconstruct the two world defining poles of nature and technology.
preCurs0r looks at this blurring of polarities by using an analogy of neolithic times and our near future. The work draws parallels between ages of climate change from the Younger Dryas, to our current crisis, computer cursors and arrowheads – lost knowledge and technology, material goods, ley lines, and information networks.
School of Arts & Humanities
MA Contemporary Art Practice
Contemporary Art Practice: Critical Practice Pathway
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I am both an interdisciplinary artist and a curator whose interest lies in the intersection between natural materiality and technology, taking cues from the human impact that has created the epoch of the Anthropocene and the sociocultural effects this condition may create. My curatorial practice extends to running my own gallery called Gossamer Fog in Deptford, South East London, which focuses on varying aspects of science, ecology and technology. My practice looks at the affect technology has on creating new spatial contexts and our perceptional displacement to a new digital sub-dimension. I have previously been exploring an idea of the ‘Technonatural’; the point where technology embedded into the materiality of humans and their environments becomes imperceivable. My practice also considers the representation of media archaeology and radical projections of our future landscape, be it in a post-nature or a post-human world.
- Director of Gossamer Fog, London, 2016–present