Featured in Pratt Institute's MFA & BFA Interactive Arts and Imaging Thesis Exhibition at Pablo's Birthday Gallery, Manhattan, from 30 Apr. 2017 - 06 May 2017.
Immaterial Girl Living in an Immaterial World is a generative, virtual world rendered in real-time through Bethesda's The Elder Scrolls V: Skyrim game engine. It shares traits with surrealist art, conceptual art, machinima film, and the real-fake. In this Immaterial World, the Immaterial Girl is tossed erratically around the scene. It is jarring to look at - we associate ourselves and our own bodies with the Immaterial Girl. A physical person would certainly not survive these injuries, but the Immaterial Girl is forced to endure the trauma in perpetuity, as these are the laws of this digital space.
While game engines are a traditionally interactive medium, IGLIW is not outwardly interactive. Rather, it is a study of this traditionally interactive medium, where the user’s input is deliberately removed. Similarly, while IGLIW is generated in a game engine, no one, not the user, not the computer, is playing any game. In fact, the Immaterial World itself should neither be labelled as a game nor as a level in a game. It is a singular digital space with its own manufactured laws.
The laws of this custom digital space are further outlined in the illuminated prints, Immaterial Girl and Immaterial World. A human observer sees the mountains, trees, and the virtual resident, but these objects have little to do with the real-time dynamics of the world. Rectangular prisms and lines of code etched in clear plexiglas show the hidden objects, these forces of nature, that turn the Immaterial World and Immaterial Girl from static images to living, breathing, changing entities. Not only is the code itself is presented as an object that occupies both physical and virtual space, both the code and these rectangles are autonomous mechanisms. It is the code that exerts its will upon the Immaterial World, ruling over it from out of sight of the Immaterial Girl. Only physical, human observers outside of the Immaterial World may look upon these governing entities through ethereal, intangible light.
In both prints, the bottom layer of identifiable colors and forms have been artificially compressed into low resolution 16 color images, reminiscent of game systems from the 80s to early 90s, such as the Commodore 64.