Through photography, installation and video, Bridget Batch pursues questions regarding alternate planes of consciousness and the nature of existence. She makes meditative artworks exploring our sense of connectedness in a world defined by modernization, consumption culture and environmental transformation.
My work explores the idea of "the screen", both actual and metaphorical sites of mediation among desiring human subjects. I see the screen as potentially subversive site with the insufficiency of its own construction, and the duplexity of both passive and active roles. Ranging from personal blogs to cinema, the screen fundamentally engages the act of seeing. However, perceived by vision, the three dimensional world is flattened to a picture neglecting the complexities of actual reality. The screen is a mirror of the self but also a projection of the others : where we are represented but also where we present ourselves. Furthermore it is a site of fascination and passionate participation as well as oppression and restriction. I am interested in exposing the manipulative but fragile structure of the screen that implies these controversies. My works are fueled by the questions of how my body/identity: being an Asian (Korean) woman, interacts with the notion of screen and its ideological construction. I am inspired by the ambivalence in both visual pleasure and the underlying desire: fascination and disgust, the impulse to escape and to embrace, to sustain and to destruct. For the past couple of years, I have examined the mechanism of image-making through performance based videos, video installations, and interactive sculptures, with the interest of how the visual experiences are constructed and experienced. Utilizing my body as a part of the work, I often bring up the friction between “virtual-digital” and “real-analog” in order to illuminate the tension of binaries mentioned above. Ultimately, my practice aims to encounter the intricacy of viewing and desiring subjects that are disregarded from the dominant vision.
Perfect Picture is a video installation displayed on three monitors. There are three 5-minute videos and three 1-minute videos in total. The videos interact with each other differently over time giving a sense of simultaneity : while each screen features a different 5-minute video, a single 1-minute video occupies all three screens. Audiences are surrounded by the echo of three videos. While they watch an individual video, they also hear the sounds leaping from the others.
Perfect Picture embraces the indeterminate form of play. I built a wooden wall that is constituted of multiple rotating panels -one side is chromakey green and the other side is black. Then I performed with this apparatus without knowing exactly what image I would put on later. The overlaid images range from the icons of Modernist Art pinnacle to a heroin of a cheesy Japanese movie. This process not only encourages the creative possibilities of improvisation, but also implies the important concepts of the piece. I aim to disarm the ideological forces implicated in the iconic images by suggesting a structure where those images become interchangeable. The physicality of my body and the actual apparatus contrasts with the virtuality of the flat overlaid digital images. Through this binary setup and also the overall humor in the performance, I reexamine the power dynamics in the ideological frameworks of representation.
The following video clip is a documentation of installation + excerpts from three 5-minute videos.
1. “Potential Forms #1 - #3,” are made potentials - their entire position is dependent on the act of being physically created (the making, a universal and rudimentary requirement for all objects, of being physically created (the making, a universal and rudimentary requirement for all objects, The form's content is then transitional in relationship to neighboring works. Open comparisons provide the form a working definition.
2. With extensive reach into the timeless subconscious sphere, imagination is an endless source for reprising visual composites and provides rare and coveted opportunities at true newness.
3. From 2008-2009, I owned a light blue velvet two-part couch, purchased for $100 at Salvation Army. Interior designers can make headboards using plywood, foam, fabric, and a staple gun.
Artist Statement Memory is the guiding motif in much of my work. Through study of the human body as a sensitive surface, I aim to explore how we physically absorb our past experiences. Each superficial marking, whether a freckle or scar, serves as tangible evidence of our unique personal history.
Artist Statement The human perception and experience of natural landscapes has become a contributing factor to the makeup of our built environments. I am interested in exploring our need to surround ourselves with decorative natural elements that seem to provide a benefit to our daily lives as well as the need to experience sublime wilderness. Certain geographic locations can have unique effects on our emotional and physical well being and it is this effect that I seek to understand. My practice involves creating relationships/visiting naturally deemed locations such as national parks, hiking trails, and parks. In my search for authentic wilderness, I have ventured into territories including rock quarries, the sides of highways, construction sites, and storefronts. Frequently, my tactics involve the extraction of data that can take form through the use of mold making, video, or even incremental values that correspond to the measurement of an action. I attempt to replicate that data using technologic or “man-made” methods and a resulting relationship or poetic dialogue manifests. I hope to uncover our economical, political, and cultural agendas that produce this idea of wilderness and would eventually like to know why we need to incorporate these elements into our surroundings. By exploring these ideas, I hope to map the complex relationships between the many different ideals of the natural and our cultural perceptions of it.
The Rate of Exchange I am interested in systems made by both nature and people. How do these structures interact with each other? I use music notations to create patterns to weave with. I am showing how things from natural systems are extracted, changed into something unnatural and then used for synthetic systems. To emphasize this idea I am using wool and other natural fibers to symbolize natural systems; and I am using single use plastic items to symbolize man-made systems. Music represents time and space and connects the personal and shared moments. I am making this work to investigate the disconnect between personal and shared spaces.
Tina creates artwork that side steps easy categorization, blurring distinctions between abstraction and representation, objecthood and installation, form and surface. What is ordinary becomes mysterious and out of explainable parts comes an unexplainable whole.