Cuenta la historia de una sensible línea recta que se enamora de un punto. El punto, sin embargo, encuentra a la línea aburrida y convencional, por lo que focaliza sus sentimientos hacia un garabato. A pesar de esto, la línea se esfuerza y un día logra variar su forma, tras días de práctica podía convertirse en lo que quisiera. Cuando el punto nota esto, se da cuenta que además de representar libertad y diversión, el garabato no era más que caos y pereza. Tras esto, la línea y el punto vivieron "sino siempre felices, al menos razonablemente".
Interview with Nathaniel Stern and Jessica Meuninck-Ganger in their studios in Milwaukee Wisconsin, for the Passing Between exhibition at Gallery AOP Johannesburg. Shot and edited in late 2009 by Sean Kafer, with musical score by Michael Szpakowski.
Jessica Meuninck-Ganger and Nathaniel Stern approach both old and new media as form. In their Distill Life works, the artists permanently mount translucent prints and drawings directly on top of video screens, creating moving images on paper. They incorporate technologies and aesthetics from traditional printmaking - including woodblock, silk screen, etching, lithography, photogravure etc – with the technologies and aesthetics of contemporary digital, video and networked art, to explore images as multidimensional.
Meuninck-Ganger and Stern hack and tweak, shoot and print, appropriate and remix, edit and draw. Their juxtaposition of anachronistic and disparate methods, materials and content - print and video, paper and electronics, real and virtual - enables novel approaches to understanding each. The artists engage with subject matter ranging from historical portraiture to current events, from hyperreal landscapes to socially awkward moments. The works are surprising, wistful, enchanting, and seriously playful.
Given Time simultaneously activates and performs two permanently logged-in Second Life avatars, each forever and only seen by and through the other. They hover in mid-air, almost completely still, gazing into one another’s interface. Viewers encounter this networked partnership as a diptych of large-scale and facing video projections in a real world gallery, both exhibiting a live view of one avatar, as perceived by the other. To create a visceral aesthetic, these custom-designed and life-sized "bodies" are hand-drawn in subtly animated charcoal, graphite and pastel. The audience is invited to physically walk between them; they’re able to hear and see them breathing, witness their hair blowing in the wind, pick up faint sounds such as rushing water or birds crying out from the surrounding simulated environment. Here, an intimate exchange between dual, virtual bodies is transformed into a public meditation on human relationships, bodily mortality, and time’s inevitable flow.