everybody needs a great photograph of themselves - why not have something interesting.
update your profile(s) with a whole new look - Marta Timmer (Blicharz) will be on-site DaDe ART & DESIGN LAB taking (glitch) portraits
[#1] saturday february 22, 2014 between 11:00 am & 2:00 pm
[#2] sunday march 02, 2014 between 12:00 pm & 3:00 pm
100.00 (digital file) or 180.00 for the metallic print (12 x 18 inch size).
the selves | Marta Timmer
A Journey Inward is an exhibition centered on the notion of self discovery using a digital glitch as a portal to otherworldly, alternative experiences.
The disturbance of photoreal forms and the emergence of psychedelic colours, frames the self-portrait images as portals to a higher consciousness, offering a snapshot of a changing self, as if in a drug induced dream of a substance user, or someone on the path of enlightenment.
The images aim to metaphorically transport the viewer into an ethereal mystery, or something hidden deep underneath the layers of every-day sameness and routine.
The underlying assumption for the work is that the world around us is not as it seems and that reality is often veiled behind illusions. Some of the illusions broken in the pictorial space of these images is the pixel perfect facade of digital media which saturates the world as we know it.
The transparent yet opaque, intuitive and pervasive technology of the pixel, whether in hollywood movies or video games, impresses the viewer and enslaves the senses. Perhaps by disrupting the coded conventions of the system, we can detach from the hypnotic glow of the screen and become free to attain higher consciousness, whatever the consequences.
The Seeker is an exhibition centered on the notion of a digital glitch as a portal to dreamlike, alternative experiences.
The disturbance of indexicality of the source materials, especially the disruption of photoreal forms and the emergence of psychedelic colors, frames the resulting images as portals to a higher reality. Surrounded by the muted every-day life beyond the glass of the space, they offer a snapshot of a changing self, as if in a drug induced dream of a substance user, or someone on the path of enlightenment.
The number 7 (for 7 prints) is significant in this case because, according to numerology, it “knows that nothing is exactly as it seems and that reality is often hidden behind illusions.” One of the illusions that are being broken here is the transparency and the pixel perfect facade of digital media, generated and maintained by the system to impress the viewer and enslave the senses. Video games, hyperreal advertising images, and crisp detailsin every Hollywood movie, are all examples of this. By disrupting the strict, digital organization of the source files, perhaps we can detach from such fixations and be free to attain higher consciousness. The choice of a self-portrait emphasizes the very personal nature of such experience.
Therefore the work presented here can signify paths or choices produced from a single starting point (the original image). It could also represent ripples through a single reality that lead to mystical places in the mind or reflections of a changing consciousness.
Another theme of The Seeker is opaqueness, or in other words, the mystification of something by veiling it. The source materials, which have been filtered through glitching techniques, are all veiled behind an aura of colours, pixels and blockey shapes, creating a kind of ethereal mystery.
True glitches - ones that happen spontaneously - are mysteries in and of themselves. We can only guess why the TV goes haywire or our computer crashes. But when these things happen, they break us away from the hypnotic glow of the screen and open up our eyes to alternative universes.
exhibition runs: october 8 to november 30, 2013
closing reception: november 15 | 6:00pm
(drinks to follow at Wine-OH's - guests of UAS receive a 10% discount)
artist talk: november 7 | 6:00pm (at Satellite Gallery - 343 11 Ave SW)
It was in the recommendation of her college instructor that Marta Blicharz (MFA '12) started thinking about graduate studies at the University of Lethbridge.
"The Master of Fine Arts in New Media was just being developed as I was finishing a multimedia production diploma at Lethbridge College," explains Marta, who also has a Bachelor of Fine Arts in Photography from the University of Calgary.
Looking for a new challenge, Marta applied and became the first student enrolled in the U of L's new program.
Marta Blicharz found the challenge she was seeking in the
Master of Fine Arts New Media program.
"I had the freedom to follow my own interests but still felt very supported," says Marta, who was grateful for the opportunity to get in on the ground floor of such an innovative program. "The faculty members I worked with were flexible and understanding but always made sure I was on the right track."
Marta worked closely with acclaimed visual artist Emily Luce from the Department of New Media on a project that incorporated photography, design, glitch techniques and some interactive programming.
"My graduate work focused on disruption, explains Marta, who investigated how incidental or intentional changes to digital coding affects the message, image or visual impact of photos. "The result of purposely corrupting a file is never predictable. Everyone who engages in this technique knows that this process is finicky, time-consuming, unconventional and exciting."
Marta's final project, an exhibition entitled Designing the Corrosive Moment, was well-received but she maintains that the process was just as rewarding as the final product.
"I truly value the input and advice I received from my supervisor, my committee and the entire new media department," says Marta, who plans to eventually become and educator in the field of new media and design. "My work is stronger as a result."
this started as a purely formal exercise - here are 15 results of experiment with glitching older CR2 files. the vivid colors and the fragmentation of the image into two distinct fields – upper and lower – are characteristic of this specific file format.
crazy to say but it was hard to narrow it down to 15 images!
Regardless of what we think the year 2012 will bring, now is a good time to stop and think about the world we live in. Are we all aware that our civilization is supported by fragile, man-made, digital structures that exist among untamed forces of nature?
What would it look like if the visible world suddenly and unexpectedly disintegrated before our eyes? Would it be digital?
‘Designing the Corrosive Moment’ explores digital glitch as a disruptive force, an aesthetic agent, and investigates its role in designing a digital catastrophe. Although identifying the ‘natural’ and unpredictable glitch with intentional design is a paradox, much is to be learned from this phenomenon.
First of all, this collection of works attempts to portray what happens when undetermined and incorrect processes operating underneath the surface, accumulate and reach critical mass, causing the photographic reality to collapse under the vandalizing force of the glitch. This looming threat constitutes a catastrophic force of destruction, much like an earthquake. It is a moment of corrosion when represented reality, and all its presumed truths become dissolved by the entropic force of digital corruption in a colorful, acidic path of pixels and absurdity. It is an apocalyptic moment, because it is both a failure and a revelation of a system our civilization depends on.
It is also a moment of awareness since the destructive potential of the glitch exposes our illusion of control, our reliance on flawed structures and our false sense of stability.
Glitch is a nihilistic force that reveals the postmodern fragmentation of consumer psyche, causes disruption in communication, and engulfs the world in the apocalyptic noise where form, control and meaning are denied their operations. Just as the early punk culture embraced anarchy to bring attention to the meaninglessness of life, so does the glitch destroy or deny the authority of structures. But what if we accept it, and use it to decorate? This is how punk became popular while at the same time it ‘unbecame’ punk.
The imagery here oscillates between chaos and order, accident and intention, by harvesting glitches from their natural occurrences, stimulating them in digital files, and assimilating them aesthetically into visual content through intentional design.
As a result the corrosive glitch moves on a sliding scale from being an active ingredient in the process, to being an aesthetic shell where the visuals are only a faint echo of the original moment of disturbance.
So is this a show about the end of the world or the end of glitch? Both are the destroyer and the destroyed, a serious threat and an assimilated effect.
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Marta Blicharz is a Polish-Canadian, traditionally trained visual artist, currently exploring computer graphics and photography in the context of the digital glitch and its postmodern identity. Growing up in the small town Sulecin, Poland, Marta participated in many local art contests and international artist visits which were hosted by the town’s Centre for Culture, Sport and Recreation. (SOKSiR).
In the summer of 2000, Marta moved to Lethbridge, AB, Canada with her family, where she completed the International Baccalaureate Art courses and obtained her high school diploma in 2002. She then went on to pursue an arts degree at the University of Calgary and in 2006 she graduated with a Bachelor of Fine Arts (Photography) and a Minor in Psychology. In the meantime Marta engaged in some freelance photography work and had her photos published in several magazines. Two years later, Marta enrolled in the Multimedia Production Diploma Program at Lethbridge College and graduated in 2010 with honours.
Marta exhibited at the Pixel gallery in Toronto, as well as at the Computational Aesthetics in Vancouver in 2011. Her work has been shown both in a group and solo context. She has also presented at the 2011 Glitch Festival in Chicago. In August 2012, Marta completed her Master of Fine Arts in New Media degree at the University of Lethbridge, Alberta. Her aspirations for the future involve becoming a writer, a film director and maintaining her digital art practice while teaching art and design at established educational institutions in Canada.