Photo: Paul Litherland
The artist is bringing computer science and biology from images of skulls, bats (“Chiroptera” from their name scholar) from tomographic data.
With his new production, Diane Morin confirms his propensity for research and experimentation, around of kinetic installations, sound and light. It is Oboro as it dwells in his works, which still have the particularity to develop under our eyes so that mechanical devices and computer systems rudimentary activate sounds and lights. Its shadow theatre are now up to a tomographic imaging drawn from the collections of the AmericanMuseum of Natural History in New York, the provision which, upstream, has required the use of the software particulierset 3D printing.
These additions extend perfectly the previous concerns of the artist, whose works are open processes. The mind lab is particularly strong in Oboro, where the devices are distributed in the rooms of the gallery and cross the same elements of distinct sets. There is a part of the facilities revealed in the light and another concealed in the darkness. On the one hand are the ingredients for say engines of the facility ; on the other, their manifestations. This bias for a combination of two spaces cannot be reduced fortunately not in a read-dualistic, but more complex, rather the reception desk blurring the principle of causality.
Diane Morin is also of the exhibition the expansion of its workshop, a repeating pattern already observed by the specialist in media arts, Nicole Gingras, in catalogue devoted to the artist by the Musée national des beaux-arts du Québec for the price in today’s art won in 2014. This is even more true that the exhibition is the result of a creation residence in these places, which explains the nature of in situproduction, also indebted to the research stays at Dale in Norway (2017) and New York (2018). The artist is also trained in 3D printing, particularly in Cologne.
One of the facilities is presented as the third prototype of the project, initiated in 2012, The great calculator. The device draws in the origins of the computer and its logic of binary calculation to enable the phenomena of sound and light. Rudimentary, the machine consists of tubes filled with water and electromechanical relays, switches that perform in the light, and whose events occur in the other room, relationships in space through copper wires and speakers. Made apparent in its mechanics the same, the computer system becomes as important as the sequence of phenomena it generates, and revived the curiosity for the functioning of the digital language which, as users, the interfaces we cut off constantly.
In cobbling together its devices, in admitting their limitations and their possible defects, Morin joins in the form of a single event in the show and what the causes.
In another installation, she also brings the computer science and biology from images of the skulls of bats (Chiroptera their fancy name) derived from tomographic data. In section lit of the gallery, a mosaic of impressions on paper, retouched in graphite pencil and features a selection of specimens chosen and processed by the artist. The media sometimes damaged areas and the wall still vacant suggest that the series will grow and that the artist still works there. On the ground, an old monitor plays a looping video scrolling through several of these images and appreciate the variety of their forms, views, cuts two-dimensional.
Photo: Paul Litherland
The mind lab is particularly strong in Oboro, where the devices are distributed in the rooms of the gallery and cross the same elements of distinct sets.
This material serves as a prelude to the piece de resistance lies in darkness, recalling in this connection night where they activate usually the bats. In an animation made with shadows, the artist restores in a sense the lives of these creatures previously stored in the form of data by the care of scientists. More chimeric than tangible, their presence of shadow comes from the encounter of LED lights with the reproduction in 3D of their skull. A programmed sequence flashes the lights, and animate the shadows.
The grid-like structure that holds the objects offered to the view, revealing again the source of the phenomena projected as far as the potential for development, because everything seems to be ready to receive other skulls. For her unique way to combine the primitive technology of the moving image and computer systems, or cybernetics, Morin allows us to reconsider the divide is often asked between machine computer and living species. It makes possible an imaginary world where the two worlds conspire together, day or night.
States provisional (Vertebrata)
Diane Morin. At Oboro, 4001, rue Berri, door 301, Montreal, until march 9.