l'art d'être · laureen andalib

On LoVid: “Digital Dirt Spiderwebs” (2016)

NEW YORK | Electronic Arts Intermix (EAI)

Among one of LoVid’s most recent works, Digital Dirt Spiderwebs (2016) continues to interrogate the group’s fascination between the virtual-analog and real as the ultimate operatic palette– that is, of techno-socio interaction. The analogue signals in LoVid’s work recur as disruptions that LoVid once sites as being a “codifier”– engaging and disengaging the viewer as part of an experimental-kinetic phenomenon of evolution in regurgitating depletion.

With the constant use of rendement as an illusion, the techno-biological world becomes a dialogue between imagination while hinting at conclusive perceptive abilities, and “human/machine retro-futuristic” vision– LoVid states in an interview (Man and the Machine). In this way, thematic references are sourced by LoVid’s focus in “the ways the human perception of the environment and of ourselves evolve, as influenced by many things including technology but also the natural world, and human culture in general.”

Using medium as both the controller and disseminator, the translation of spaces between 2-D and 3-D worlds become the indexical– where technique operates within the realm of both the organic and inorganic art object. Through foilage of dense layering, collaging, and insertion of energies– almost as humanizing movement– the surface of the image itself conveys evolution as a universal “symbiosis” between repetition, and haunting (yet familiar) shapes– “composing chaos in new ways.”

After a combination of residencies at the ETC (Electronic Television Center, 2006 / 11) and Eyebeam (2005) in New York– LoVid’s newest work speculates technical composition as a form of critique once more– revisiting the notion of entanglement as an emblem across biology, nature, networks, and technology. Through direct intervention and the epitome of surprises, LoVid engages the viewer by continuously convoluting textures of flattened space– and mystifying their interactions between spatial ecologies of the natural world, fractured by inter spilling spaces of sonic foreplay between Lo-fi and Hi-fi production.

LoVid’s rendering of space itself becomes a compositing apparatus for the technique of “alternative processes” to indeed be possible beyond the physical world– when suddenly, sonic rendition is permitted to be more than isolated and non-responsive in occurring after-the-fact– in contrast to more of that of audio-visual harmony in LoVid’s earlier works.

Here, background music is fragmented by experience, isolation, and interaction as the musical “micro-label” LoVid refers to in his earliest works. Asserting imagery onto prismatic planes, LoVid experiments with audio-visual interactions as naturally occurring– in both the identity and color of real and non-real objectivity. Strangely becoming a form of satisfying stasis– the result of plants, textiles, and sonic imagery in Digital Dirt Spiderwebs forces unpredictability to be something beautiful as a form of audio-visual in-betweenness.


On LoVid: “Digital Dirt Spiderwebs” (2016)

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