Craig Redshift (He / His)
Craig Redshift creates situations in which media and information are altered or detached from their “natural” function. By applying specific combinations and manipulations, different functions and/or contexts are created and observed, often highlighting the arbitrary nature of meaning. He creates work across a range of lens based and sound media and his practice makes use of the mutable properties of digital information; images become sounds, sounds become images, ASCII text becomes magickal glyphs used to divine the future in an age of misinformation. The detritus and the visual language of advertising and broadcast media is folded in on itself to produce moments of either revelation or absurdity. Similarly, his sound work oscillates between the sacred and the profane, often using aleatoric processes to guide composition and structural elements.
The Ars Informatica is a divinatory system for the age of misinformation. A series of complex and convoluted technical and magickal processes reveal a series of glyphs which invert the form and function of traditional divinatory systems by stripping away the narrative function and rendering the final forms in the language of advertising.
The work may be considered as either an elaborate joke disguised as an occult system, or an occult system disguised as an elaborate joke.
Gleaming Radiant Marble
Gleaming Radiant Marble represents an exploration of the liminal space between secular and sacred music.
The work is driven by aleatoric processes dictated by random selections from the Ars Informatica work.
These selections directly intervene in the physical structure of the sound work resulting in a piece that oscillates between composition and actualisation.
The resulting sound work is subsequently incorporated into three visual elements wherein the generated sound transforms, transmutes and distorts the agent of its own creation.
a departure from what is normal, usual, or expected, typically an unwelcome one.
the failure of rays to converge at one focus because of a defect in a lens or mirror.
This series of work consists of contradictions, non-sequiturs, facts that are distorted and facts that are not facts, exaggerations, and chronic rhetorical vagueness. Broadly looking at the “right wing agenda” from an atemporal perspective, the work interrogates and critiques not only the search for meaning in an increasingly polarised and disconnected cultural landscape, but those who provide “meaning” according to the terms of their own agendas. The work touches on cults, conspiracy theories, religious hypocrisy, evangelical christianity and the attempt to establish a digital theocracy, all filtered thru the lens of broadcast and digital media.
The Crossing is a video and sound work constructed from field recordings and appropriated audio information.
The title may refer to either a physical passage, or to a near death experience and aims to capture the tension, terror and beauty inherent in both of these scenarios.