个人简介：
Oksana Kryzhanivska (b. Lutsk, Ukraine) is a practicing artist, maker and educator in interactive sculptural media. Oksana spent the first half of her life as a young child growing up in Ukraine and another half in Canada, completing her education in Toronto and Calgary while studying sculpture and interactive art. Since 2019, Oksana has resided in China, Guangdong Province, where she works as a digital nomad-artist and teaches media arts at BNU-HKBU United International College, Zhuhai, GD.
Oksana’s practice evolved from the traditional sculptural media to interactive tactile sculptural installations with 3D printing, electronic sensors and composite materials. In her practice, computers and code have become artist’s collaborators on par with artistic media. Since 2018 the artist has explored Virtual and Augmented reality interactive art, transforming the game design media into a tool for experimental and conceptual art. Her inquiry interests include digital nomadism, posthuman bodies, personal and communal identities and collective consciousness. Oksana works without assistants.
作品描述：
For many 2022 started as a year of hope and optimism for the future in the changed world with new understanding about finding inspiration from within. In the selection of my submitted works, I present you with objects that evolved from focusing on “looking inward” in search of better understanding on how to live in a complicated world of technological progress, localities, and new ways of forming human connections.
1.Diptych Quantum Resonance (2022, 2 pieces, 100 cm by 60 cm each) responds to the ideas of collective consciousness as it transcends into a new realm with artificial intelligence. The artwork questions the ideas of collective consciousness and machine perception that translates through AI databases and text-to-image generative methods. In the creation of this work, a laser scan of the artist’s head with data errors serves as a metaphor to create a shell of a human in virtual reality, while the skin of the head is composed of manipulated layers of AI generated imagery.
2.Flower V - Sonic Flesh. Animation. 1 min (4 min also available). This work imagines what bodies evolving in virtual reality could look like. If entities evolved their bodies to generate music, what would they look like? Would there be a spirit living in these bodies, similar to human soul? Would these bodies have desires? This animated sound sculpture explores these questions. The sculpture's form dances to a soundscape and is inspired by a generated soundtrack. The form floats in an open space of clouds where time travels backwards. The animated 3D sculptures in this submission can also be viewed in AR and VR and made into digital collectibles. Video preview link: https://youtu.be/WqgCgnHtySc
3.Rave Orchid (digital print, 72 cm by 54 cm). This sculpture was born from an experience of isolation and looking inward. It explores the idea of virtual reality in connection to French philosopher’s Gilles Deleuze’s notion of the virtual as a mental space that can actualize through imagination. The process of making this work attempts to establish the connection between VR as technology, virtuality in philosophy and visionary arts process by actualizing form of fragmented body parts with digital tools.
Oksana Kryzhanivska (b. Lutsk, Ukraine) is a practicing artist, maker and educator in interactive sculptural media. Oksana spent the first half of her life as a young child growing up in Ukraine and another half in Canada, completing her education in Toronto and Calgary while studying sculpture and interactive art. Since 2019, Oksana has resided in China, Guangdong Province, where she works as a digital nomad-artist and teaches media arts at BNU-HKBU United International College, Zhuhai, GD.
Oksana’s practice evolved from the traditional sculptural media to interactive tactile sculptural installations with 3D printing, electronic sensors and composite materials. In her practice, computers and code have become artist’s collaborators on par with artistic media. Since 2018 the artist has explored Virtual and Augmented reality interactive art, transforming the game design media into a tool for experimental and conceptual art. Her inquiry interests include digital nomadism, posthuman bodies, personal and communal identities and collective consciousness. Oksana works without assistants.
作品描述：
For many 2022 started as a year of hope and optimism for the future in the changed world with new understanding about finding inspiration from within. In the selection of my submitted works, I present you with objects that evolved from focusing on “looking inward” in search of better understanding on how to live in a complicated world of technological progress, localities, and new ways of forming human connections.
1.Diptych Quantum Resonance (2022, 2 pieces, 100 cm by 60 cm each) responds to the ideas of collective consciousness as it transcends into a new realm with artificial intelligence. The artwork questions the ideas of collective consciousness and machine perception that translates through AI databases and text-to-image generative methods. In the creation of this work, a laser scan of the artist’s head with data errors serves as a metaphor to create a shell of a human in virtual reality, while the skin of the head is composed of manipulated layers of AI generated imagery.
2.Flower V - Sonic Flesh. Animation. 1 min (4 min also available). This work imagines what bodies evolving in virtual reality could look like. If entities evolved their bodies to generate music, what would they look like? Would there be a spirit living in these bodies, similar to human soul? Would these bodies have desires? This animated sound sculpture explores these questions. The sculpture's form dances to a soundscape and is inspired by a generated soundtrack. The form floats in an open space of clouds where time travels backwards. The animated 3D sculptures in this submission can also be viewed in AR and VR and made into digital collectibles. Video preview link: https://youtu.be/WqgCgnHtySc
3.Rave Orchid (digital print, 72 cm by 54 cm). This sculpture was born from an experience of isolation and looking inward. It explores the idea of virtual reality in connection to French philosopher’s Gilles Deleuze’s notion of the virtual as a mental space that can actualize through imagination. The process of making this work attempts to establish the connection between VR as technology, virtuality in philosophy and visionary arts process by actualizing form of fragmented body parts with digital tools.
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