Caroline Macdonald | Pentelic, 2024
Digital
Media Dimensions: 93 x 106 cm
Image Dimensions: 80 x 91.3 cm
Edition of 5 (with unique variations)
Framed/unframed
Caroline explores objects and images from antiquity and art history found in galleries and museums. She deconstructs and reconstructs these subjects in novel ways to render the familiar strange. Stone marble, paper marbling, glitches and folds have become metaphors for time, illusion and perception. Caroline brings together different generations of print technology. In technology, the glitch is an error which reveals the fallibility of a system. In Caroline’s practice the digital glitch and folding create a fragmented patterning lending surfaces a resistance to easy translation, inviting multiple readings. Glitches and folds create new boundaries, where the usual distinctions between one thing and another blur and intertwine. She offers different ways to look at history with a hope of generating new meanings. Recurring themes in her work are fragmentation and metamorphosis. In Caroline’s large, printed, folded structures she combines images from antiquity with everyday modern materials to make digitally printed structures which seek to subtly reveal the hidden production systems we navigate. Digitally rendered fleshy tones suggest both artificial and natural processes. Through the thin Japanese paper, you can see the stacked packaging, linking these digital bodies to man-made consumption. Whilst digital, these works are not digitally flawless or pristine which adds to their corporeal quality. Tension slides between the encounter with the scale of the work, proximity, and the precariousness of their structures.
Digital
Media Dimensions: 93 x 106 cm
Image Dimensions: 80 x 91.3 cm
Edition of 5 (with unique variations)
Framed/unframed
Caroline explores objects and images from antiquity and art history found in galleries and museums. She deconstructs and reconstructs these subjects in novel ways to render the familiar strange. Stone marble, paper marbling, glitches and folds have become metaphors for time, illusion and perception. Caroline brings together different generations of print technology. In technology, the glitch is an error which reveals the fallibility of a system. In Caroline’s practice the digital glitch and folding create a fragmented patterning lending surfaces a resistance to easy translation, inviting multiple readings. Glitches and folds create new boundaries, where the usual distinctions between one thing and another blur and intertwine. She offers different ways to look at history with a hope of generating new meanings. Recurring themes in her work are fragmentation and metamorphosis. In Caroline’s large, printed, folded structures she combines images from antiquity with everyday modern materials to make digitally printed structures which seek to subtly reveal the hidden production systems we navigate. Digitally rendered fleshy tones suggest both artificial and natural processes. Through the thin Japanese paper, you can see the stacked packaging, linking these digital bodies to man-made consumption. Whilst digital, these works are not digitally flawless or pristine which adds to their corporeal quality. Tension slides between the encounter with the scale of the work, proximity, and the precariousness of their structures.
Digital
Media Dimensions: 93 x 106 cm
Image Dimensions: 80 x 91.3 cm
Edition of 5 (with unique variations)
Framed/unframed
Caroline explores objects and images from antiquity and art history found in galleries and museums. She deconstructs and reconstructs these subjects in novel ways to render the familiar strange. Stone marble, paper marbling, glitches and folds have become metaphors for time, illusion and perception. Caroline brings together different generations of print technology. In technology, the glitch is an error which reveals the fallibility of a system. In Caroline’s practice the digital glitch and folding create a fragmented patterning lending surfaces a resistance to easy translation, inviting multiple readings. Glitches and folds create new boundaries, where the usual distinctions between one thing and another blur and intertwine. She offers different ways to look at history with a hope of generating new meanings. Recurring themes in her work are fragmentation and metamorphosis. In Caroline’s large, printed, folded structures she combines images from antiquity with everyday modern materials to make digitally printed structures which seek to subtly reveal the hidden production systems we navigate. Digitally rendered fleshy tones suggest both artificial and natural processes. Through the thin Japanese paper, you can see the stacked packaging, linking these digital bodies to man-made consumption. Whilst digital, these works are not digitally flawless or pristine which adds to their corporeal quality. Tension slides between the encounter with the scale of the work, proximity, and the precariousness of their structures.
