from targeted espionage to automated spyware and data retention, the common idea of spying has morphed alongside the capabilities of government agencies and global businesses to widely harvest large amounts of data. spying is no longer primarily associated with targeted identification of individuals, but rather the continuous monitoring of citizens. this increase in sample size, as well as widespread participation in self-surveillance via social media networks, transforms personal information into general data. although the integration of public and private information into storable data engenders serious consequences, there are also other farcical aspects to the situation. what happens when the majority of data collected is overwhelmingly boring? where does the electronic capturing of information leave the technologically incompetent spy? does universal spying increase paranoia to a pynchon-esque level, to the point where one’s beverage preference must be protected at all costs? a plant is a plant presents a new body of artworks that considers some of the irrational effects of increased surveillance.
OPEN / wednesday the 17th of august through saturday the 3rd of september 2016
Metro Arts exhibition space / level 2/109 edward street, brisbane
OPENING EVENT / 6pm through 8pm wednesday the 17th of august 2016
CRITICAL BRUNCH / 11am saturday the 3rd of september 2016
for more event details >>> facebook
marnie edmiston is a visual artist based in melbourne. her practice engages with ideas of recognition, perception and visibility, especially regarding processes of organisation, the attribution of meaning and significance, and ultimately who or what can be recognised or perceived. how these processes operate between the singular and multiple is of particular concern. marnie is currently an mfa candidate at monash university.
for more on this artist >>> www.marnieedmiston.net
words by >>> ella cattach
image credits: llewellyn millhouse