#videoinstallation

Although we're not in Baltimore this weekend due to another event, you can still catch our piece in the Homecoming Alumni Exhibition in the Pinkard Gallery!

Missing all of our friends in the market and arcade this weekend 🫶 Please visit them for us! 🥰

Overgrowing Technology (2023/24)

Technology and nature have always been perceived as opposing forces - one synthetic, calculated, and ever-advancing; the other organic, unpredictable, and cyclical. Overgrowing Technology explores this duality, creating a space where nostalgia, digital decay, and organic growth converge.

Using nine iMac G3s I reconstruct a personal and collective history of the internet, memory, and digital landscapes. Arranged in a structured 3x3 grid on a blue industrial shelf, these obsolete machines become both relics and vessels, their screens displaying a fragmented video poem in four acts. The work juxtaposes decayed technology with organic life: chrome planters overflowing with greenery, artificial grass, an aquarium, and luminous star stickers evoke childhood memories and digital dreams.

This piece is, in part, an archive of my personal relationship with the internet - a journey through wonder, obsession, disillusionment, and reconciliation. The videos within the iMacs oscillate between past and present, combining found footage, historical references, and original recordings made with handheld cameras, Coolpix, Super 8 film, and iPhones. The layered visuals are complemented by self-produced music and poetry, shaping a multisensory experience.

At the heart of the installation, a mirrored iMac shatters the grid’s uniformity, its reflective fragments inviting the viewer into a space of self-recognition and digital distortion. The work does not seek to romanticize nostalgia but rather to examine its function - how past technological landscapes linger in contemporary digital culture, how the obsolete is repurposed, and how memory itself is an evolving interface.

With Overgrowing Technology, I aim to cultivate a dialogue between the organic and the artificial, questioning whether technology can ever truly become obsolete, or if it simply transforms - overgrown by nature, absorbed into memory, and rewritten into new narratives.

Japanese artist Ken Matsubara (born 1949) makes multimedia works that incorporate video, photographs and found objects to investigate the memories that reside deep within our consciousness. His flickering video images are projected onto surfaces of objects, shallow bowls filled with liquid, broken mirrors, or reflective vitrines. His work is dreamlike and ephemeral.

This publication is currently on New Book shelf.

Image 1: Video showing the front cover with still images from “Sleeping Water”

Image 2: Video stills from “Sleeping Water,” 2011

Image 3 & 4: Installation views of “Sleeping Water-Mekong Delta,” 2011 at the exhibition, “Water Dreams—The Story of Water,” Spazio Light Box, Venice, 2011

EISUKE OOOKA Kameyama Triennale 2022 is over.  Thank you for coming.  The video installation of the day after the next day released version 1 of the Module Bath Until we meet again. Title "Module Bath ver.1"  EISUKE OOOKA   youtube ___________ 32V LCD TV 733mm x 471mm x 173mm / Acrylic water tank 760mm x 459mm x 70mm

"Module Bath" EISUKE OOOKA" Kameyama Triennale 2022

作品  「 Module Bath  」 作家名　大岡英介 ＿＿＿＿＿＿＿＿＿ 32V型 液晶TV  733mm x 471mm x 173mm  / アクリル水槽  760mm x 459mm x 70 mm 亀山トリエンナーレ2017の映像作品「Yomeiri」続編。（旧加藤家屋敷 若党部屋にて）昭和初期、現代のように恋愛をして結婚できる事は、ほとんどなく父親や長男が娘の相手を決めたそうです。次の世代に引き継ぐために当時、結婚はとても重要だった時代。結婚相手の決定には娘も息子も親の意向に沿うことが当たり前と考えられていました。 亀山藩石川家 家老職加藤家と言う地位にあった加藤家から一般の家庭に嫁に行く事になった娘が苦悩の中、自分の育った実家にて最後の夜に現代的なバスルームにて嫁ぐ苦悩と決意の様子を映像とサウンドにて表現しました。 現代では男女共に非常にセンシティブな世の中になり結婚の概念は様々な国の政治的体制により異なる。日本の昭和初期と現代の結婚の概念は少しづつ変化を遂げて男女や人種を超え愛し合い生きる時代となりつつある。人生を創造し共に生きるパートナーとは他者に決められるのでなく本来の自分が自然に寄り添える者と生きる事ができる時代。いつか世界から偏見や差別が無くなるように祈ります。 音楽   Eisuke oooka  / モデル  Ray nakazawa

Title "Module Bath"  EISUKE OOOKA ___________ 32V LCD TV 733mm x 471mm x 173mm / Acrylic water tank 760mm x 459mm x 70mm

Sequel to the Kameyama Triennale 2017 video work "Yomeiri". (In the old Kato family residence young party room) Since the early Showa era, it is said that fathers and eldest sons decided who their daughters would marry, as there were few cases of love and marriage like today. At that time, marriage was very important to pass on to the next generation.It was considered natural for both daughters and sons to follow the wishes of their parents when deciding who to marry. Kameyama clan Ishikawa family chief retainer Kato family, who was in the position of Kato family, her daughter, who was going to be married to a general family, was in agony, her last night at her parents' house where she grew up. in a contemporary bathroom I expressed the anguish and determination of her marriage with video and sound.

BILL VIOLA

Bill Viola, left: "Earth Martyr" (2014); right, "Air Martyr" (2014) (all images courtesy Vanitas Club)

Bill Viola, left: “Fire Martyr” (2014); right, “Water Martyr” (2014)

My attention in the work of this artist was attracted by the use of those topics that I was now studying: death, life and experiences. The simplicity and purity of his presentation, the symbolic and often mystical language in the form of water, air and fire are very in tune with me. When studying his works, I noticed the similarity of some series of his works with literally frame-by-frame reproduction from some of Tarkovsky's films (such as "Ivan's Childhood", "Victim", "Mirror" for example), but it my own interpretation, probably because of my selfless love for the russian director. Video installation is a complex art form, and this artist's works are great examples of this genre. In my project, I considered the topic of death, water, air, and this search became very inspiring for me.