Ben Tricklebank
Endec-3, 2016
True black and white Resin-coated C-type print with Handmade white wooden frame
100 x 80 cm
39 2/8 x 31 3/8 ins
39 2/8 x 31 3/8 ins
1/3 + 2APs
Endec is a site-specific installation and photographic series which explores notions of control and freedom through our relationship with technology. In his Ben Tricklebank's solo show in London at Gazelli...
Endec is a site-specific installation and photographic series which explores notions of control and freedom through our relationship with technology.
In his Ben Tricklebank's solo show in London at Gazelli Art House themes of reaction and distortion were addressed through his audience’s interaction with a bright, white reflecting pool. Filled with opaque milky substance, the pool served as a liquid canvas. Using a combination of projection and sensors that analyse motion, the piece was activated by the audience’s varying levels of action and inaction. The ripples intensify as the viewer neared the installation simultaneously repelling points of light to reveal a silhouette below this viscous plane. Creating a visual interplay between surface and motion, intimate moments of reflection and influence were realised through the undulating patterns in this innately infinite and abstract canvas.
A series of photographic prints featured a female figure partially submerged, yet fully coated in a marbled, milky-white fluid. This symbiosis of struggle and accord between the figure and the liquid allowed the creative process to shape the unexpected outcome of each ‘canvas’. Overlaid text on one image highlighted this contemporary, sociotechnical conundrum whereby control is an illusion, and illusion is control. Instances of both struggle and unison were captured, begging the elevated question of the individual’s autonomy in relation to advancing technology.
In his Ben Tricklebank's solo show in London at Gazelli Art House themes of reaction and distortion were addressed through his audience’s interaction with a bright, white reflecting pool. Filled with opaque milky substance, the pool served as a liquid canvas. Using a combination of projection and sensors that analyse motion, the piece was activated by the audience’s varying levels of action and inaction. The ripples intensify as the viewer neared the installation simultaneously repelling points of light to reveal a silhouette below this viscous plane. Creating a visual interplay between surface and motion, intimate moments of reflection and influence were realised through the undulating patterns in this innately infinite and abstract canvas.
A series of photographic prints featured a female figure partially submerged, yet fully coated in a marbled, milky-white fluid. This symbiosis of struggle and accord between the figure and the liquid allowed the creative process to shape the unexpected outcome of each ‘canvas’. Overlaid text on one image highlighted this contemporary, sociotechnical conundrum whereby control is an illusion, and illusion is control. Instances of both struggle and unison were captured, begging the elevated question of the individual’s autonomy in relation to advancing technology.
