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How does data travel? Does it have a language? Can we listen to them? Are we a part of the metadata that exist in real time?
Converging with the collective knowledge of information available in the phase of digitalization, the strangeness that I encounter in the streets of Dhaka reveal a techno-centric asylum which is the norm in the late-capital era. We relish their directness but do not wish to be touched by their haunting quality. Apart from that, I am fascinated by shapes and forms and regularly use them to create a topological awareness. It has transformed from the experience and imagination of a digital age rendezvous.
This mixed media manifestation is an audio-visual experience consisting of seven cathode ray tubes (CRTs) that have been stripped of their covers to expose the insides; one of which that is malfunctioned hanging diagonally while the other six are working. The CRTs are mounted in a wire frame that is above 16 ft high and is inspired from polyhedral shapes reminding us of structure and form. The screens show an extension of my previous work dubbed Wire Formation in which I create a record of the visual clutter that occurs due to the entanglement of wires and represents the chaotic reality of Dhaka city. Wires have been an element which is the most common phenomenon that is in abundant to the visual consumption in the city. The installation consists of inorganic and nonfunctional noises that actually do not mind and matter but are continuously competing against each other to gain attention from people nearby — a sample of the soundscape in which the average city dweller is immersed in unconsciously.
The installation is entitled, Faraday’s After-Effect as a satire which is the consequence of the future past. The fact is befitting as we have responded to solve these questions.
My art is a direct confrontation to the immiscibility of technology and human interest. The annoying noise — “annoisiness” as I like to call it serves as an assault to the senses of a human observer and is meant to invoke that particular feeling that technology just like culture is not our friend. The monolithic appearance of my installation is there to invoke a humble reminder of that.
I take a lot of inspiration from Ryoji Ikeda. You can see parts of my work has the likeness of Ikedan techno-dystopian themes. I also like to incorporate Nam June Paik’s visionary ideas into my art as well — the way technology organically matures through feedback loops within the elements of media, entertainment and communication is deeply embedded in my art as well.
Faraday’s After Effect was Installed at Chobi Mela 2021 Shunno under the section Fellows, as Bodh/Intellection, Curated by Zihan Karim.
Feb 12 to 21, 2021 Drik-Path Bhoban 8th Floor