George Stamenov
Statment
The faculty of memory is one shared by computers and humans alike, the firing of neurons helps us recall past moments much in the same way that 1s and 0s are collected and recollected by the silicon brains of our android companions. In the uncanny worlds I create, memories of human happenings are experienced through the unreality of the digital. A pixel sun casts shadows of objects long forgotten whilst the procedural fluttering of polygon leaves simulate a breeze that once was. I use digital technology to manipulate such subtleties of reality, both past and present, reconstructing them for the audience in ways that feel both familiar and unsettling. My version of memory is one that calls into question the very nature of what and how we remember.
Using a broad palette of digital technology, I construct a unique method of storytelling. The cues of traditional filmmaking are present - the set is staged and the lighting placed, but the script is torn apart and the actors wholly unconventional. Objects extracted from everyday life take the leading roles; cars, glasses, trees, statues and buildings all performing in ways that feel reminiscent of the Still Life masters of old. Their actions bending and contorting the limits of what is physically possible. In works like
“Hristo Smirnenski blok.70 entrance A fl.9 ap.23 , Sofia, 1000 (2018)” small moments become big, insignificant movements take on significance and the viewers grasp on reality is slowly and gradually eroded. For me, reality itself is a cyborg, an unconventional hybrid of digital placemaking and human comprehension. It is a reality with in which both comfort and discomfort can be found in equal measure, a reality that is at times familiar and at others abstract. In this reality, conventions break down, expectations are shattered, yet one thing is for certain – it is sure to be memorable.
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The faculty of memory is one shared by computers and humans alike, the firing of neurons helps us recall past moments much in the same way that 1s and 0s are collected and recollected by the silicon brains of our android companions. In the uncanny worlds I create, memories of human happenings are experienced through the unreality of the digital. A pixel sun casts shadows of objects long forgotten whilst the procedural fluttering of polygon leaves simulate a breeze that once was. I use digital technology to manipulate such subtleties of reality, both past and present, reconstructing them for the audience in ways that feel both familiar and unsettling. My version of memory is one that calls into question the very nature of what and how we remember.
Using a broad palette of digital technology, I construct a unique method of storytelling. The cues of traditional filmmaking are present - the set is staged and the lighting placed, but the script is torn apart and the actors wholly unconventional. Objects extracted from everyday life take the leading roles; cars, glasses, trees, statues and buildings all performing in ways that feel reminiscent of the Still Life masters of old. Their actions bending and contorting the limits of what is physically possible. In works like
“Hristo Smirnenski blok.70 entrance A fl.9 ap.23 , Sofia, 1000 (2018)” small moments become big, insignificant movements take on significance and the viewers grasp on reality is slowly and gradually eroded. For me, reality itself is a cyborg, an unconventional hybrid of digital placemaking and human comprehension. It is a reality with in which both comfort and discomfort can be found in equal measure, a reality that is at times familiar and at others abstract. In this reality, conventions break down, expectations are shattered, yet one thing is for certain – it is sure to be memorable.
