1. Video documentation of "Hyperdentity" solo show by Georgie Roxby Smith at New Low, March 2012.

    HYPERDENTITY
    “From now on humankind will have to act in two worlds at once”
    Marie Louise Angerer, The Making of …Desire, Digital

    As a digital generation we seek instant gratification through constant communication across a multitude of platforms. The social networks of Facebook, YouTube, Twitter and other virtual worlds all provide outlets for us to reinvent the self through the screen. These networks are innately rich in social currency, and where there is social currency simultaneously there is a high value placed on identity and persona, resulting in a desire to create the perfect fantasised self. In the multilayered material space of the cyberworld our ‘avatars’ concurrently hide and reveal aspects of the inner. All it takes to disappear is a mouse click and we are left with an identity crisis of digital proportions.

    In Hyperdentity, the lines between identity and role-play blur as the artist constructs and melds performances in a perpetual process of cleverly editing the “I”. These multiple self-portraits can create the illusion of transcending the body, as they enter and entertain the cyber world, seeming to self-importantly existing everywhere at once. Through the use of audio-visual projected, digital and screen based media installation, Georgie employs techniques of repetition and difference to create layers of mirroring and deconstruction, ultimately rendering a visual and aural chorus on the subject of the self within a contemporary, digital context.

    GEORGIE ROXBY SMITH
    Georgie Roxby Smith is an Australian visual artist working across a range of disciplines exploring new pathways between virtual and physical worlds. She received a Bachelor of Media Arts from Deakin University in 2004. Her graduate studies include a Post Graduate Diploma in Visual Arts and Master of Fine Arts from the Victorian College of the Arts. In 2010, Georgie developed her multi disciplinary work ‘Reality Bytes’ at The Watermill Center Spring Residency Program in New York and presented the work at Rearview Gallery in Melbourne Australia as well as exhibiting at several local galleries and public screens. Georgie was also part of Linden Centre for Contemporary Art Innovators Program 2010 and Melbourne International Arts Festival including ‘Navigators’ 2006 (for which she received the Eldon and Anne Foote Trust Travel Grant), ‘John Cage’s Musicircus’ 2007 and, in 2008, contributed to ‘Longing Belonging Land’ on opening night and assisted artist Chris Doyle (US) with his ‘Ecstatic City’ installation. Recent awards and grants include Nellie Castan Award, Australian Postgraduate Award, Creative Research Activity Grant, Ian Potter Cultural Trust 2010, Artstart Australia Council for the Arts 2009 and Dame Joan Sutherland Fund 2009.

    georgieroxbysmith.ning.com/

    NEW LOW
    n-e-w-l-o-w.tumblr.com/

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  2. Lara Croft, Domestic Goddess I & II
    Lara Croft death noises from Tomb Raider (2013), 3D model, SL intervention.
    Looped continuously for duration.
    2013

    The legendary Lara Croft has is an icon in the representation of females in gaming – and for the first time in 2013 was re-imagined by a female writer, deeply conscious of finding a balance between “a man with boobs” and exploring areas of the female psyche without overly feminizing the character. Whilst the body is less overtly sexualised than previous versions of Lara, and her vulnerability is a strength of her character’s development rather than a victimization – the incredibly violent and voyeuristic death scenes are unparalleled. In a tongue-in-cheek play on the stereotypical depiction of Lara, the career woman of action adventure gaming,our heroine is re-positioned her as “domestic goddess” - but rather than balancing the media hyped “career, children, husband, home” - her flipside manages her domestic chores alongside her “work” as sex symbol and “bad guy getter”. The death sounds become her cries of distress in her entrapment or the ironic orgasmic ecstasies of the home.

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  3. Machinima, PS3 Skyrim, 2012
    Placed as prop, non player, damsel in distress or sub-hero, the gaming female character is rarely a ‘player’ of any importance. Where female character heroes are in place, they are often overtly sexualized, such as the hyper real soft pornography of Lara Croft’s female form. The male gaze manifests itself bi-fold in an immersive environment populated by young men invested in hours of play and character’s own digital peers.The Fall Girl is a recreated death glitch which occurred whilst playing Skyrim. This death loop magnifies and distorts the violence against the female body and, in its relentlessness, begins to blur between the lines between intention - suicide, murder, accident or perpetual punishment. By removing the game play in between scenes, which when isolated are disturbing in their sharp focus, the viewer becomes critically aware of the hyper- representation of the character and the violence enacted against her. The protagonist is eternally and perpetually punished in an inescapable digital loop.

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  4. 3D machinima, video, found image, found sound

    PLEASE NOTE THIS IS A SAMPLE VIDEO OF ORIGINAL WORK AND IS NOT DISPLAYED AT THE EQUIVALENT RESOLUTION

    Made specifically for Composite at Gallery One Three Uncomposed (after Titian after Giogione) deconstructs Giorgione’s Sleeping Venus, itself a composite, the landscape and sky being completed by Titian following Giogione’s death in 1510. The work was a landmark of its era, reflecting a new shift in modern art with the inclusion of a female nude at its centre. Employing three-dimensional computer graphics and elements of Giorgione’s original masterpiece, Roxby Smith replaces his stylised renaissance figure with a fantasised digital body transplanted into an augmented hyper real landscape. In the likeness of her present day artist, the 21st Century Venus will not lie still for her voyeurs, obstinately returning the male gaze from her new digital paradigm, Sleeping Venus awakes.

    Soundtrack owco2_introspection by +

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  5. Get Hyper in New York City! Australian New Media Artist Georgie Roxby Smith explores digital identity within the new cyber-social paradigm. Her most recent work, Hyperdentity, has been selected for the Art in Odd Places Festival in New York this October, to be projected along the length of 14th st from East River to the Hudson over 14 nights. With some fantastic rewards and exposure available, this is your chance to get behind Australia’s new media art scene. Visit pozible.com/hypernyc to donate and receive some fantastic rewards.

    This project is supported by artsHub

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georgieroxbysmith.ning.com
Georgie Roxby Smith is an Australian visual artist working across a range of disciplines exploring new pathways between virtual and physical worlds. Employing a variety of tools - including 3D graphics, live performance,


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georgieroxbysmith.ning.com
Georgie Roxby Smith is an Australian visual artist working across a range of disciplines exploring new pathways between virtual and physical worlds. Employing a variety of tools - including 3D graphics, live performance, shared virtual ad gaming spaces, installation and projection - these works explore the increasingly blurred border between materiality, reality, virtuality and fantasy in contemporary culture.

Georgie developed her multi disciplinary work ‘Reality Bytes’ at The Watermill Center Spring Residency Program selected by an international selection committee of cultural leaders consisting of Marina Abramović, John Rockwell, Alanna Heiss, Nike Wagner, Marie Claude Beaud and Robert Wilson. More recently Georgie took part in Art in Odd Places, New York, where her work was featured in Time Out NY, Prospectives.12 International Festival of Digital Art in Nevada and Self Help at Rawson Projects Brooklyn, curated by Jocelyn Miller.

In June 2013 Georgie curated NOW13 - New Media Art Now in Melbourne Australia

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