ARTISTS
Rachel Rossin: Lossy
In her first exhibition with the gallery, Rachel Rossin introduces her virtual reality experience alongside the oil paintings they inspire and are inspired by. Upheaving traditional notions of portraiture, landscape and still life, the paintings both inform and reflect the technological installation, an inversion of the most sacred of standards鈥� age-old techniques with the flare of advance guard contemporaneity.
Rossin begins by making first 鈥渄rafts鈥� of the paintings, which are then brought into virtual reality where 鈥渨orlds are set loose on themselves: gravity finds itself inverted and once strictly 2-d paintings are repurposed in cloth dynamics simulations鈥�. The paintings are thus subjected to repurposing with the final result being work on canvas made from these virtual tableaus 鈥� manifesting what was previously digital into the physical 鈥� where I act as the entropic moderator鈥� (interview with the artist).
In the parlance of information technology, the term lossy is used to define entropy in data encoding most commonly known in JPG and MP3 formats. In this context, the word is a metaphor for entropy being a fundamental law of our universe as per the 2nd law of thermodynamics. In short, loss is everywhere. Again in Rossin鈥檚 words:
鈥淭he exhibition posits that our relationship with reality isn't comprised of a separate virtual and real but looks more like a gradient between the two鈥� with most of our modern lives being lived in the action of hopping from screen to screen. Like lossy compression, this process includes entropy as an inherent given鈥� in optimizing what already exists by omitting the excess in worlds with their own internal logic.鈥�
The exhibition will feature both Rossin鈥檚 paintings, blurred, smeared, transmogrified environments caught in a state of permanent denouement, alongside an Oculus Rift headset, where the viewer will experience Rossin鈥檚 microcosmic digital worlds. The New York Times described another of the artist鈥檚 virtual reality installation鈥檚 at Brooklyn gallery Signal earlier this year as 鈥渋mmers[ing] yourself in a Dante-esque virtual reality.鈥�
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In her first exhibition with the gallery, Rachel Rossin introduces her virtual reality experience alongside the oil paintings they inspire and are inspired by. Upheaving traditional notions of portraiture, landscape and still life, the paintings both inform and reflect the technological installation, an inversion of the most sacred of standards鈥� age-old techniques with the flare of advance guard contemporaneity.
Rossin begins by making first 鈥渄rafts鈥� of the paintings, which are then brought into virtual reality where 鈥渨orlds are set loose on themselves: gravity finds itself inverted and once strictly 2-d paintings are repurposed in cloth dynamics simulations鈥�. The paintings are thus subjected to repurposing with the final result being work on canvas made from these virtual tableaus 鈥� manifesting what was previously digital into the physical 鈥� where I act as the entropic moderator鈥� (interview with the artist).
In the parlance of information technology, the term lossy is used to define entropy in data encoding most commonly known in JPG and MP3 formats. In this context, the word is a metaphor for entropy being a fundamental law of our universe as per the 2nd law of thermodynamics. In short, loss is everywhere. Again in Rossin鈥檚 words:
鈥淭he exhibition posits that our relationship with reality isn't comprised of a separate virtual and real but looks more like a gradient between the two鈥� with most of our modern lives being lived in the action of hopping from screen to screen. Like lossy compression, this process includes entropy as an inherent given鈥� in optimizing what already exists by omitting the excess in worlds with their own internal logic.鈥�
The exhibition will feature both Rossin鈥檚 paintings, blurred, smeared, transmogrified environments caught in a state of permanent denouement, alongside an Oculus Rift headset, where the viewer will experience Rossin鈥檚 microcosmic digital worlds. The New York Times described another of the artist鈥檚 virtual reality installation鈥檚 at Brooklyn gallery Signal earlier this year as 鈥渋mmers[ing] yourself in a Dante-esque virtual reality.鈥�
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