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Free time tracked falsely as by forgetting to press pause (2019)

Wall mural, matt and silk white emulsion, wall size: 244cm x 535cm, hand crafted book, calligraphy, book size: A4.

Technology replaces the act of waiting and lessens mind wandering. The mural exhibits failed measurement of Guo’s free time using a time tracking app, which marked failure as human quality. The white ink used for calligraphy in the book, is often applied to cover mistakes, the writings are Guo’s daydreams that ate impossible to represent, similar to time tracking.


Documentation No. ? (2019)

Video, 4 minutes 38 seconds (Video Link).

Documentation No.? (2019) is a self-referential video documentation, which displays a voice-over recording and post-production process on Adobe video and audio editing software. The artwork reverses the idea of manufacturing technology in the likeness of human. Dialogues selected from the original video were recorded word by word, in a process similar to Siri. This resulted in the humorous removal of tonal and natural speech pattern that distinguishes human from automated technology.


Loading (2019)

Screen Capture (Video Link)

Loading (2019) is an emotional response to a technical loading error. The prolonged loading software prevented the production of artworks. In response, the loading screen, which was locked in a repetitive cycle, was nominated as the artwork. The problem became the solution because the objective is shifted by the human perception. The personal response corresponds to a shared experience of stress and anxiety relating to loading screens and the act of waiting. Part of the anxiety could come from the uncertainty of the result, unlike a loading bar, a buffering loop offers no indication of its progress.


Essay (Invisible) (2019)

Print, 297cm x 2940cm.

The most important element of an essay is its readability. Essay (Invisible) removes the original functionality of an essay, by changing the colour of the typed words to match that of the background on Microsoft Word, making the writing invisible. The only evidences for existence of the writing are the red lines highlighting grammar mistakes and hyperlinks. The red lines in this work are not mistakes but words and names in other languages. Therefore the software’s interpretation of mistakes, or the algorithm’s recognition of mistakes became the visible composition of the artwork. Essay (Invisible) also suggests humour as the status of the artwork could range from ‘high art’ to useless, depending on the viewer’s interpretation.


Virtualised Human III (2018)

Feedback loop video projection, iridescent sheet, metal.

Virtualised Human III places the viewer inside a projected feedback loop, which attempts to stimulate a daydreaming state. The feedback loop is generated by pointing a camera at a monitor. The visual is the result of my inability to hold the camera still, caused partly by my breathing. The imprecision could be seen as a human quality, as opposed to the seemly technical production method. Hence, something technical is created physically.  Camera guidelines became visuals of the projection, which were designed to be hidden from the finished work.


Drifting Version 2 (2018)

Video, 11 seconds.

Video piece exploring Maladaptive Daydreaming, a psychiatric disorder involving excessive daydreaming. The slow shutter time-lapse captured the repetitive moments produced while daydreaming.


E-thereal (2018)

Projection, plant protection fleece.

E-thereal aims to induce an immersive environment that shows digital technology is deeply embedded in our culture. Our body interacts with the physical objects and our mind follows the projected lights. The boundary between the body and the environment becomes blurry when the body absorbs the digital light. The thin material represents the ethereal quality of the internet and digital data; its translucency transcends into the hidden programming notion of the computer interface. Looking closely, the immersion revealed to be illusive as we realise we are only indulging in a different version of reality.


Flow (2018)

Site-specific Installation

This installation is based on a sound piece created using digital data that mimics the sound of nature. The long and uneven form suggests the flow of digital data, like a stream of digital information. The work has a very different aesthetic up close, there are many areas within the work that could become an independent artwork.


Live Data (2018)

Mulitmedia Installation: Projection, plant protection fleece.

Live Data (2018) experiments with the ethereal quality of the internet and digital data; the translucency of the material became a window to the hidden programming behind visual interfaces. E.g. binary codes behind a visually stimulating film. The material moves when the viewer shifts their position, which is a metaphor towards humans influences in the digital world and the constantly changing data.


Glitch: Portal (2017)

Multimedia Installation: projection, plastic, touch board, sound.

Glitch: Portal explores the relationship between human and technology as well as reality and illusion. The projection over the plastic sculpture is a video piece made from the screen recordings of found glitches on a Mac. The video projection was out of focus to produce a dream like effect, the clear sculpture further distorted the projection. Connected to a hidden touch board, a sound piece is activated upon touch. The sound piece contains the distorted audio book recordings of fictional characters traveling to another world or time; hence the title Glitch: Portal.


Automatic Drawings (2017)

Video, digital images

The project questions the status of the artist in automated processes and the possibility of machines becoming artists or collaborators. The drawings were created by attaching markers onto a robotic vacuum cleaner that follows a set of preprogrammed instructions. The drawings were later transformed through data bending, by editing the images as sound files. Controls were relinquished to the softwares and machines as results could not be easily determined by a human.


IDEX (2017)

Web browser

An interactive browser with a video background that becomes increasingly disruptive over time, eventually renders the browser unusable. The title of the artwork refers to the departure from linear indexing to the spontaneous connection that the internet offers, which could spiral into chaos.

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