Thursday, February 23, 2017

DIORAMA - THE FUTURE

Diorama - The Future? Gouache and watercolour on paper 56 x 76 cm 2017



Please check out the interview The Centre for the Study of the Drone, Bard College, New York conducted with me about my dronescapes Portfolio: Dronescapes by Kathryn Brimblecombe-Fox .
I am also thrilled that a research centre such as the Centre for the Study of the Drone believes my work has something meaningful to contribute to current debates and conversations about drone technology.

I also want to report that my reading at Wild Readings earlier this week went very well. I read short paragraphs about three of my recent paintings, New Sky, Combat Proven, Long Range, Long Dwell and Through the Mists of Time. I then read a slam drone poem I have written. 

(Below) Here's a photo of me reading. The painting you can see is Through the Mists of Time.







DIORAMA - THE FUTURE
Diorama - The Future? is not unlike two earlier and smaller works on paper Fragmented and The Tree-of-Life Sends its Energy Underground

The patches of red in Diorama - The Future? can indicate a few things - blood lost, life's fertility, energy lost, or maybe energy dispersed for later retrieval. These red patches act as landscape elements too, albeit possibly cosmic landscape ones. They could be mineral deposits, contour indicators, pools of energy, multiple glimpses of sunsets, bomb blasts on distant and close horizons....

The oscillation between positive and negative interpretations is deliberate. It reflects the ambiguity of orientation in the painting. Is the viewer above the landscape or are they looking down upon a landscape, or are they in front of one or maybe behind? This sense of flying around the landscape, and importantly the Reaper drone, forecloses any priority that might be given to the drone's so called 'vision'. 

The viewer's orientation is disturbed by the upright and upside-down trees-of-life, the two white ones and the row of yellow ones. The white trees act as illuminating beacons. But, the drone is also white? Ah ha! Its failed attempt to camouflage itself is revealed! The emanating rays that appear on the top left look like the rays of a sun - but - they could be the scoping signals of a drone. They contrast with the upside down white tree with its emanating branches that reveal a more complex array of networks and systems than those signaled by the emanating drone rays. Again, perhaps an attempt to camouflage a drone's intrusive surveillance and possible targeting capabilities is revealed. 

EYE IN THE SKY
By playing with orientation and ambiguous perspective the viewer becomes the 'eye in the sky' even if its in your mind's eye - imagination. Given the title of the painting Diorama - The Future? maybe the viewer is transported to the future - in imagination? Given that developments in militarised technology, such as increasingly autonomous systems, are already focused on perceived future of war needs, thinking critically about how the future might unfold is important. In some ways it is already militarised and in some minds so is imagination!

Rather than the word 'vision' to describe a drone's surveillance and targeting capabilities, I prefer the word 'scoping'. This removes the questionable habit we humans have of anthropomorphising non-human and non-living things. Scoping is a more technical term- related to targeting and surveillance. Vision, however, implies a lot more that we humans need to retain for ourselves, particularly imagination - our mind's eye!

Cheers,
Kathryn
www.kathrynbrimblecombe-fox.com 
 P.S please take a look at my new DRONESCAPES page.





Friday, February 17, 2017

SECRETS

Secrets Gouache and watercolour on paper 56 x 76 cm 2017


Upright and upside down trees-of-life - roots - multiple mini landscapes - emanating pink rays - glistening stars or are they galaxies?  - skies - clouds - landforms - the cosmos - and ---- secrets!

If you are new to my blog you are likely to 'read' this painting quite differently to those who visit often - initially anyway. 

NO DRONES - MAYBE?
For those who do visit often they will notice the absence of airborne weaponised drones. They will, however, think twice about the emanating rays in the distance. Are they signs of hidden drones loitering beyond sight, their long range and long dwell capabilities enabling persistent surveillance? Or, are they evidence of suns in the far distant reaches of the universe? Regular visitors might also notice how these rays contrast with the pale green roots, and the upright and upside-down trees. 

New and regular visitors will notice an ambiguous perspective - are you above, below, inside, outside, in front of a landscape? Is it a 'scape' of the land or of the sky? Maybe, it's a 'scape' revealing multi-universes? 

WHY SECRETS?
I called the painting Secrets for a few reasons. One is to remind us that keeping secrets in the cyber and digital age of the 21st century is very difficult! Whether secrets are revealed now or at some time in the future is largely out of our hands. Algorithms will trawl through data and come up with correlations that 'reveal' biases, likes, dislikes, habits etc whether we like it or not! 

But, a painting with upside down trees, an ambiguous perspective, emanating pink rays, pale dots, green roots and an overwhelming sense of beauty keeps its secrets by being enchanting, even beguiling. Whatever secrets it might hold, they are there forever - so I am told!  

A BODY OF WORK
Once an artist has a body of work it is exciting to see relationships between works, even over decades. A body of work is a dynamic entity made up of equally dynamic parts. Yes, individual pieces can be appreciated separately, but connections between works can sometimes reveal - secrets!

Cheers,
Kathryn
P.S. Please check out my new DRONESCAPES page here on my BLOG and my updated 'galleries' on my website

Saturday, February 11, 2017

CRADLE

Cradle Gouache and Watercolour on Paper 56 x 76 cm 2017


HOT
As I sit here in my office in sweltering heat I ponder the state of the planet. Here in Brisbane we have experienced days of drastic heat - one after the other. All over Australia people are sweltering under record high temperatures. The odd hot day or two is bearable, but day after day of heat + humidity is debilitating. The relentlessness of the heat is significant, because to me at least, it demonstrates change in weather patterns. I grew up in Western Queensland, Australia. Then as an adult I spent 18 year further west, before moving to Brisbane 16 years ago. Yes, it got hot out west, but I don't remember weeks of relentless heat - like we are experiencing now. I noticed it last year too, but had not previously noticed it 

So, are we humans like a frogs put in water that is slowly brought to boiling point - but the frogs do not notice they are being cooked?! Maybe?

POLLUTION
In the 60s and 70s when I was at primary school we learnt about pollution; air, water, soil, land etc. Yet, here we are a few decades later still talking about the effects of pollution - humanmade pollution! Even if humankind's pollution is ultimately not a major contributor to climate change/global warming it cannot be helping! Even if it is a minor contributor, what if it is the thing that causes the balance to tip - the last ingredient - AND - so something that demands to be addressed - by all of us? Arguing about addressing human generated pollution seems pointless because one way or another it is a major problem.

Added to environmental turmoil the world is also experiencing other kinds of turmoil - economic, political, social and cultural. My guess is that they are all connected.

CRADLE
So, I painted Cradle with humanity and the tree-of-life linked in a vast landscape as a way to envision Earth - our planet - our home. After all, it is ACTUALLY our 'cradle' as it nurtures us in every way. Let's look after it and each other....



Below is another 'cradle' work from 2015 In the Cradle 

 
In the Cradle Gouache on paper 30 x 42 cm 2015



NEWS

Red Rain on the front of Hecate and What I think About When I am Planking featured on conference material. February 2017

My painting Red Rain  is featured on the front cover of HECATE Hecate is a journal that prints material relating to women. It is is an internationally circulated refereed journal. It is published twice a year by Hecate Press, in association with the Research Group for Women, Gender, Culture and Social Change Research, in the School of Communication and Arts at the University of Queensland.

My painting What I Think About When Planking  is featuring in printed and online material for the international conference Excess Desire and Twentieth to Twenty-First Century Women's Writing  


Cheers,
Kathryn
P.S Please check out my new DRONESCAPES page 

Sunday, February 05, 2017

MANHUNTING IN THE DRONE AGE

 Manhunting Gouache on paper 56 x 76 cm 2017


NEWS

1. I have made a designated DRONESCAPES  page here on my blog. There are 18 of my dronescape - cosmic landscape paintings.

2. My painting Red Rain  is featured on the front cover of HECATE Hecate is a journal that prints material relating to women. It is is an internationally circulated refereed journal. It is published twice a year by Hecate Press, in association with the Research Group for Women, Gender, Culture and Social Change Research, in the School of Communication and Arts at the University of Queensland.

3. My painting What I Think About When Planking  is featuring in printed and online material for the international conference Excess Desire and Twentieth to Twenty-First Century Women's Writing  


____________________________________________________


MANHUNT

I first came across the term "manhunt" in regards to airborne drone surveillance and targeting in French philosopher Gregoire Chamayou's book Drone Theory. He makes the startling and horrific claim that in the age of the drone the whole world is potentially a manhunting ground.(Chamayou: 38, 52-53) And, let's not forget that in some parts of the world 'manhunts' conducted from the air already occur. In many cases targeting is based on patterns of behaviour or data collected from devices such as mobile phones, GPS and so on. In these cases a target may not even have a name - this is called a 'signature strike' rather than a 'personality strike'. (this information is available in numerous places including newspaper article as well as books like Chamayou's Drone Theory)

I have come across the idea of manhunt/manhunting in other articles and books a number of times since reading Drone Theory. The threat from above informs architect Eyal Weizman's theory of the verticality of threat and international relations academic Alex Danchev's provocatively titled article Bug Splat: The Art of the Drone . Media studies academic Mark Andrejevic writes about the ubiquity of targeting surveillance in a number of articles and essays. And, there are others.

In the last few weeks I have read two articles by lecturer in human geography at Glasgow University, Ian Shaw. These articles are The Great War of Enclosure: Securing the Skies and The Urbanisation of Drone Warfare: Policing Surplus Populations in the Dronepolis . Both of these pieces are wake-up calls about the threats posed by accelerating technical, operative and usage developments in drone technology. Increasing autonomy and swarm capabilities trigger many questions about drone use in both military and civilian situations. The insidious thing is that the divide between civilian and military is becoming increasingly blurred.


Combat Proven, Long Range, Long Dwell Gouache on paper 56 x 76 cm 2016


Manhunting and Combat Proven, Long Range, Long Dwell 

I painted Manhunting after reading Shaw's two articles and I painted Combat Proven, Long Range, Long Dwell before reading the articles. Shaw's ideas about the reduction of some populations to a "surplus" category where data often acts as a proxy for the human really resonated with me.

Binary Code
Both paintings depict life and humanity in painted binary code. How? In Manhunting I have painted Human in binary code at the bottom of the painting, over and over. This represents a population under surveillance, potentially targeted.

In Combat Proven, Long Range, Long Dwell I have painted the word LIFE in binary code at the bottom of the painting. And, the word DRONE is painted in binary code on the Gray Eagle drone.

In both paintings 'signals' emanate from the drone, a Reaper drone in Manhunting.  They are simultaneously surveillance and targeting signals, on the one hand 'sucking' in our data and on the other hand perhaps lasers pinpointing targets? Both the Gray Eagle drone and Reaper drone are armed with missiles. They are ready to attack. The targets below the drones are strings of binary code acting as proxies for humanity and life. There are no names, just code...data contained in the reductive 'space' between zeros and ones.

BUT 

I have deliberately painted the binary code in attractive colours to make the strings of code look like ribbons, to inject personality, to stir the pot so-to-speak. Hand painting the code also means the zeros and ones are not perfect. Can code really represent life and humanity in all the foibles and amazing attributes that come with flesh, blood, emotions, spirit, creativity...?

In Combat Proven, Long Range, Long Dwell I have also included trees-of-life to act as beacons to guide us. In Manhunting there is no tree. But, I look at the empty space on the far right of the strings of binary code in two ways. One is that human life completely ceases and autonomous artificial life systems rule the world! The other is that life covertly goes underground, ready and waiting for regrowth some time in the future.


A Selection of related posts.
REGROWTH and DRONE STAR
FRAGMENTED and UNDERGROUND: DRONESCAPES
SCOPED

and

my 'gallery' DRONESCAPES


Cheers,
Kathryn