Shona Kitchen, Ceres, 1968.
Shona Kitchen is an internationally recognized artist, designer and educator based in Providence, Rhode Island. Since graduating from the Royal College of Art with a MFA in Architecture, she has divided her time between creative practice and teaching. Her practice is frequently collaborative, research based and site-specific. Using digital, analog and biological elements, Kitchen’s work provides ground for physical and virtual, natural and artificial, and real and imagined to playfully coexist. Throughout her practice, she explores the psychological, social and environmental consequences of technological advancement and failure. Kitchen frequently collaborates with scientists, engineers, writers and software developers. Her work has been exhibited internationally at such venues as the Victoria and Albert Museum, the Kelvingrove Museum, Vitra Museum, Montalvo Arts Center, Center for Contemporary Art (Warsaw), Zero1 San Jose and the International Symposium on Electronic Art, among others.
Work at the collection: Other Days, Other Eyes
Other Days, Other Eyes, 2019
“Other Days, Other Eyes” refers to the evolution of the ubiquitous recording infrastructures that surround us and reflects on the generation and transmission of that information as well as society’s growing abundance of cotidian and banal information.
Kitchen combines live footage from cameras with varying curiosities of the everyday, archived elements, and analog glass blobs laden with the weight of the collected digital content. Smaller blobs seep out of the walls, evoking budding newcomers that may very well grow up to become a camera one day speculating on the evolution of live architectural organisms. The work captures the coexistence of the physical and thevirtual, the natural and artificial, the real and imagined and the absurd.
This project grew out of IMAGEOBJECTLANDSCAPEEVENT a research project by longtime collaborative team Kitchen-Hooker. Much of Kitchen's work is inspired by the writings of J G Ballard, in this instance a short story called “Sound-Sweep” wherein a passage reads, “the sonic strata of everyday urban life ....is so without respite that it is literally embedded within walls and surfaces”. In Ballard’s book, a sound-sweep is the equivalent of a trash man, collecting the abundance of everyday sounds absorbed into the architecture.
The project title is borrowed from another 70s science fiction
writer, Bob Shaw.
This work has been done in collaboration with glass artist Evan Voelbel.
