Liz Wilson
MA work
MA work
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Play
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Play
The Rhythm Machine
The Rhythm Machine is an orchestra of modulated voices, factory transformations and animations exploring the stretch of time between the industrial and post-industrial. Utilising animation as a way of simulating the rhythm and tempo of the machine, the work takes on the aesthetic of early computer graphics, which is played in relationship to footage from a Victorian Ropery. Further employing the use of mechanisation within the work, modulated voices simulate the individualised rhythmical energy of each apparatus. These disembodied parts become orchestral when playing simultaneously, participating at various tempos and pitches. These pulsations of movement generated by both human and automata recapitulate and evolve, acting as reverberations - conversations between the old and new and possibility of evolution.Â
Info
Info
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MA Degree
School
School of Humanities
Programme
MA Print, 2017
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Contact
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+44 (0)7764 244877
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Things are moving faster, they accelerate beyond visibility. They sit beyond our reach, becoming intangible and separate from the present. Machines build upon a tempo accelerating at a quickening pace, rhythmically hastening and automating the present. Limbs performing a choreographed motion with a machine, gather speed mediating the uninterrupted duration of production. These human–machine relationships continue their modification through the evolution of the machine and the ever-increasing notion of ‘plus value’ from the repurposed, refurbished and continued upgrades from our global scrapyards. Gessler (2008) describes of this world of re-appropriation from artefact to technology, a former time where objects are represented through ‘homo faber’ or man the creator. Through this discourse my practice examines the transformations that occur when an industrial monument is removed from its origin and re-calibrated through technologies. These reverberations act as conversations between the past and present, simulating the possibility of evolution. In a world of increasing convergence between the real and the virtual, the silent pulse of the machine continues to beat louder and stronger, pounding against the pulse of time itself.
Gessler, Nicholas (2008) 'Skeuomorphs and Cultural Algorithms'
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Degrees
- MA Print, Royal College of Art, 2017; Postgraduate Certificate in Post Compulsory Education, University of Brighton, 2009; BA (Hons) Illustration, University of Gloucestershire, 2008
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Experience
- Artist talk, ONCA Gallery, Brighton, 2017; Artist talk, University of Brighton, 2016; Artist talk, Royal College of Art, London, 2016; Sessional lecturer, University for the Creative Arts, Epsom, 2014 – present; Visiting artist, Sorrell Foundation, University for the Creative Arts, Epsom, 2012 – present; Printmaking & imaging technician, University for the Creative Arts, Epsom, 2011 – present
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Exhibitions
- Super Super, Kingsgate Project Space, West Hampstead, London, 2017; Synthetic Ecology, ONCA Gallery, Brighton, 2017; Output, Café Gallery, Southwark Park, London, 2017; Edit+Control, Hackney Gallery, Royal College of Art, London, 2016; (SOLO) The Manufacture of Time, Pie Factory, Margate, 2016; RCA Secret, London / Dubai, 2016; Break/Link, Café Gallery, Southwark Park, London, 2016; WIP, Dyson Building, Battersea, London, 2016; Two Hundred Acres, Battersea Park, London, 2015; Common Bodies, East Street Arts, Leeds, 2015; Bath Open Art Prize, 44AD Gallery, 4 Abbey Street, Bath, 2015; Screen Saver, Dyson Gallery, Battersea, London, 2015; RCA Secret, London / Dubai, 2015
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Awards
- The Eaton Fund (2017); YLCE Award (2016); Pushing Print Solo Award & Bursary (2015); Shortlisted, Durham Warf Residency (2015)