ARTIST STATEMENT My work draws on the intertwined histories of video and performance art, to articulate a phenomenological reflection on the actions of posing and viewing implied by the camera’s everyday presence. Within this work, the use of digital video is key in expressing a “televisual self-consciousness” of performance indicative of the age of accessible home video, technological surveillance, and “live” or “reality” TV. In many projects I have explored the creation temporal portraits realized through fading, evaporating and disintegrating imagery. Recent interactive works such as the Time Portraits and Light Portraits bring the performance of the image into the present by engaging the embodied viewer in the performative space of the gallery. These works question photography’s documentary role through an interplay created between performance, and still, moving and fading imagery. Through drawings, digital print and video work, I seek to investigate the actions of performance, spectatorship and translation implied by digital image culture. By combining and recombining “traditional” and “new” media, I engage processes of translation and remediation between traditional and new imaging technologies, questioning how differing technologies create different modes of viewing. BIOGRAPHY Emma Hogarth is an honor student and MFA candidate in Digital+Media at the Rhode Island School of Design. Born and raised in Australia, she completed her Bachelor of Visual Arts degree with First Class Honours at Sydney College of the Arts where she majored in Painting. After graduating, Emma moved to New York City where her artistic path took a detour through dance, finally arriving back in the realm of the visual arts. During this time, Emma studied a range of dance and performance techniques, performing with various choreographers and performance art companies while continuing to develop a multidisciplinary arts practice of her own. This practice has included varying combinations of dance, drawing, performance, video and installation work, executed in the space of the gallery, the theater and the public arena. Emma’s recent projects play at the intersections of portraiture, photography and performance. Her video works attempt to reflect the impact of media technologies on performances and documentations of the Self. Her current work takes a more formal approach to imaging technologies, questioning relationships between documentation, still and moving imagery. She is the recipient of several awards including a grant from the Brooklyn Arts Council for her site-specific performance “Bridge…” TIME PORTRAIT Interactive Video Installation: live video feed, camera, computer, framed plexiglas screen, projector, custom software created in collaboration with Clement Valla. As participants/viewers stand in front of a large framed screen, their movements are captured by a video camera and fed through custom software created using Processing. The software transforms the live video into a fading, layering succession of black and white imagery. As the images layer, they record and display fragments of time and movement that appear as a mixture of still and moving imagery. Stillness is reflected in darker images, and movement fades quickly to grey and then disappears. This play between still, moving and fading imagery reflects upon aspects of temporality inherent to the practice of photography and also the genre of portraiture. This temporal or movement portrait fragments time, considering our temporal human condition in relation to the still record of the photograph. http://risd.digication.com/ehogarth/Time_Portrait/ REMEDIATIONS: PRINTS Archival inkjet prints on paper 30" x 40" Remediations: Prints is an ongoing series of digital video and print works exploring intersections of surveillance footage, mass media entertainment and traditional art media. Both the subject matter and process engaged in this series of works is one of "remediation." The source material for this work was originally surveillance footage of a robbery in progress. When I encountered the material it had already undergone a series of transformations from surveillance footage and evidence into entertainment. First it had been edited into a narrative form for television reality/drama programming, then it had ended up as remediated entertainment material in a further edited excerpt on an internet video broadcasting site. The prints in this series began as video stills that were printed small-scale, then drawn over in color pencil, and were finally rescanned and printed as large-scale art prints. The hand drawn textures and presentation as art prints provide another window through which to question the reproduction of imagery. http://risd.digication.com/ehogarth/Remediations... YOUVIEWER Interactive Video Installation: camera, computer, projector, custom software created in Max MSP Jitter. No sound. Dimensions variable. YouViewer is an interactive video installation which combines two images: surveillance footage of robberies in progress gathered from Youtube; and a live video feed of the viewer watching the surveillance footage. The work is intended to be installed in a space of passage, a hallway or corridor. As participants traverse the space, their captured image is combined with the surveillance footage in a slanted wall projection. While moving, the image of the viewer is barely visible, it is only when the viewer stops and watches for a period of time that their act of “watching” fades into visibility within the scene. This work challenges our complicity in the remediation of violent imagery as entertainment. http://risd.digication.com/ehogarth/YouViewer