In many digital art projects by artist Liu Chang, she explores the deeper connections that humans have with nature and technology as a whole, and tries to use technology to remind people of beauty, the love and the moment of life that we have and ignore in the digital world.
“When you leave, there will be no photo and no proof, but you were there, without a doubt, and you can only embrace this vacillating moment,” Liu said while expressing the reason why he didn’t. didn’t want photos taken in front of his interactive video installation. , a project she named “Random Walker”.
On the other hand, Liu has really embraced the gift that technology has given him. In “Nature and Algorithm”, she used an encoding algorithm to program images of nature and landscape, based on a photo or graphic texture, every day for a hundred days.
“Whether it’s nature, technology or us as humans in between, the evolution that nature undergoes revolves around humans, the two influence each other in a symbiotic way. You will find that things around you are not absolute or divide, ”she said.
As his work is juxtaposed, it is also calming and aesthetically stimulating, asking us to reexamine our relationships with nature and technology, respectively and collectively. Liu’s work not only inspires us to be interested in visually appealing works, but also encourages us to appreciate art in several dimensions.
Q: What inspired you to start the “Random Walker” project? “
A: The project started when I was at the Pratt Institute. I had wanted to capture the beautiful campus in the fall, and wanted to do it in a way where I could replace a painter’s brush with algorithms. I installed a camera with the custom program that I coded that continuously captured every passerby and every falling leaf that entered the frame every second, so that there would be layers of images overlapping each other, this which was much like the textures of an oil painting, as well as the texture of time. I didn’t intervene at all once the computer started working – he was an artist in his own right.
When it was then displayed, we installed a large screen where people and the environment could be captured as part of the installation. The captured people and environment would also be constantly overlapped. It can be seen as a fluid painting with the texture of time, and I love the poetic nature of this work.
Q: So the message behind this project is to appreciate this particular moment we are living in?
A: Yes. Perhaps this is how the era of big data and smartphones has diverted our attention and restricted our views. For example, when we go out to dinner but don’t take a photo, post it on Instagram, or check in on dianping.com, does that mean that dinner hasn’t happened? That’s also why I didn’t like taking pictures at the “Random Walker” exhibition: you can’t capture the moment by taking a picture anyway. The best way to interact with the device in this project was to just watch it. You can just watch and go into a long meditation.
Q: Why did you choose something as new as technology to express something as classic as nature?
A: The first word I thought of earlier was “open-minded”. If I use Photoshop or my brush, the work turns out to be fixed, riveted. With programming it becomes totally different. For example, I could link weather data to my work “The Flow of Nature” to show how the weather has changed over time through my art in a visual and dynamic way.
I can also set up a sensor connected to a device that could influence the visual with real-time data. In this way, my work is alive and has interacted with its environment. This is something that conventional psychics cannot achieve.
Q: Can we say that “Nature and Algorithm” is a pretty juxtaposed project?
A: It is indeed a juxtaposition. First of all, when I found the photos I used from Google or a GPS on the internet, I marveled at the beauty of these landscapes and wondered if nature had any kind of secret power to make herself so beautiful. I later found out that I could algorithmically create patterns that looked like the stems of a leaf and the surface of the soil. While they are certainly not exactly the same, when lined up next to each other, the two present a juxtaposed aesthetic.
Q: However, do you think that the more technology advances, the further people move away from nature?
A: Personally, I don’t really like dividing things up. Nature, technology, landscapes built by human beings or the piece of nature you see, it’s all interconnected, stitched together. This brings up the name of my last project “Stitched Landscape” exhibited at the A4 ART Museum last year. It deals with the relationship between nature and technology.
Q: Going back to the 100 days project you did for “Nature and Algorithm”, what do you think?
A: It was a challenge. There was a mental process throughout, like the excitement for the first 20 days, the exhaustion that led to the withered inspirations in the middle, and finally a new cycle of that creative mindset. It’s almost addicting, more like a build-up process. You can try drawing an animal, writing a poem, or designing a character every day. It’s also a lot of fun, and I recommend everyone to try it.
Q: How to de-stress?
A: Usually I like to go to museums and art exhibitions. I also keep something that looks like an art journal or a diary. It doesn’t matter when you do it or if you just doodle. You can also try origami or other things you like to do every day. You continue as a daily ritual, and it can be a way to save life.