BY ISABEL HOOD (SHE/HER)
JULY 03, 2022 - JULY 15, 2022
'25th — 31st May 2022: tired, anxious, content, motivated, annoyed, entertained, sore' [installation view]
25th — 31st May 2022: tired, anxious, content, motivated, annoyed, entertained, sore explores themes of data humanism and the distribution of private, personal and 'less-validated’ data information. During the time of her residency with Nextdoor ARI and their CODEY22 series, Isabel Hood spent a week collecting personal data; recorded at five times a day (9AM, 12PM, 3PM, 6PM and 9PM). The data involved documenting her moods and capturing her surroundings at the time of each recording. Hood would then rate how she felt on a scale of 1 — 10, and include extra notes on emotions felt and what she was doing at the time. The extra visual capturings involved photogrammetric and flatbed scans, as well as photographs and videos of surrounding flora and objects. This collected information was then translated into 3D data vessels. The extra imagery either surrounds or is embedded within vessels, encouraging extra insight and context to the data displays.
'25th — 31st May 2022: tired, anxious, content, motivated, annoyed, entertained, sore' screen recorded walk-through
Isabel Hood is a digital artists and designer living and working in meanjin/Brisbane. Her practice explores alternative approaches to data collection and display, to ultimately question ideas of data ownership, vulnerability and the frequent decontextualisation of data in the process of its collection and visualisation.
While traditional displays of data focus on efficient analysis and presentation, Hood's work emphasises a slower engagement with information and atypical reporting metrics. While Hood’s process of collection and display is subjective and defies the typical legibility tools of data visualisation, its speculative design nature recognises ideas of data re-ownership and emphasises the already inherent biased and flawed existence of current data collection and presentation processes.
Hood highlights data's imperfect abstraction of real world information and intends to reincorporate empathy and communicate the 'affect' at different levels of the data handling. Her visualisation of the information in an atmospheric and textural space, encourages an embodied mode of data display.
" Through these pervasive and multilayered visual contradictions, Hood illustrates the way that data collection is seen as an empirical and rational way of making sense of the world, offering concreteness and certainty, but equating this with a deep understanding of a subject is an illusion. "
Excerpt from Georgie O'Brien's essay
Click vessel to view full exhibition essay
About the writer...
Georgie O’Brien is a writer and sometimes-artist living in Meanjin/Brisbane. Pathological indecisiveness combined with an interest in anything and everything means that she holds an eclectic mix of university degrees, including a Graduate Diploma in Art History from the University of Adelaide. She is currently completing a Master of Writing, Editing, and Publishing at the University of Queensland.
She feels passionately about making contemporary art accessible and interesting to as many people as possible. Her master’s dissertation explores approaches to writing exhibition labels for contemporary art. She is interested in how these texts can use language and innovative communication strategies to engage diverse audiences and prompt them to have rewarding and enlightening encounters with contemporary art.
Georgie believes strawberry is the best ice-cream flavour in the Neapolitan tub (and will fight you on it), and enjoys impassioned debates with friends about the correct taste ranking of potato dishes (mash of any form belongs right at the bottom, while sweet potato chips take top spot).
25th — 31st May 2022: tired, anxious, content, motivated, annoyed, entertained, sore [installation view]
Documentation by Kimberly Stokes
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