Image: Josephine Skinner, Tender, 2016.
HD video with sound.
While looking for love on Tinder, the artist wondered why waterfalls appeared in the profile pictures of countless men. Were they subconscious symbols for fearless masculinity and old-school romance, thanks to Hollywood? Or, analogies for the flow of feelings and acceleration of time online? She decided to ask them.
In a bittersweet, semi-fictional narrative, this new video installation retells the philosophical musings and intimate exchanges that followed between the artist and her touchscreen heroes. Together, against the starry skies of iPhone wallpapers, they ponder the nature of space and time, reality and fiction, loneliness and lust, and the challenges of finding deep connection despite an age of digital connectivity.
Josephine Skinner is a Sydney-based, UK-born artist and curator. Fascinated by the digitisation of our emotional worlds, she explores the ways in which private reality and social fictions converge in network culture. She holds a practice-based PhD in Art, Media & Design from UNSW (2015), and graduated in Critical Fine Art Practice (BA Hons) in the UK (2006).
Her artworks have featured in solo and group exhibitions and screenings, including STROBE Network, Flux Factory, New York (2015); Love and Fear, ARTBAR, Museum of Contemporary Art Australia (2015); Transgressing Media, The New School, New York (2014); The Future’s Knot, TINA Festival (2014); The Social, Campbelltown Arts Centre (2013); Tele Visions, Carriageworks (2013); With Open Arms, Blindside Gallery, VIC (2013); Pixilerations V.8, USA (2011); and Sydney Underground Film Festival (2011). In 2015, she undertook a residency at Eastside International, Los Angeles, and was a recipient of the Firstdraft Emerging Artist’s Program in 2013.
She is a curator at Stills Gallery, with key projects including Ever Fresh (2016); Kaleidorama (2015); Totally Looks Like (2014), The Big Picture (2013) and Mostly Agree (2012) co-curated with Bronwyn Rennex; and Love Sick, a dual-venue project with Hazelhurst Regional Gallery & Art Centre (2010). Her writing has been published in Artlink, RealTime, Runway and UN magazines.
MOP Projects is supported by the NSW Government through Arts NSW