The Ancestor
The Ancestor (This Much I'm Worth Prototype) | 2017
10 pieces of neon, Ethernet cables, recycled Server Room equipment, electronics, computers, IP Cameras, programming
190 cm x 60 cm x 60 cm ( 74"x 23"x 25"): Weight approx 80 KG
10 pieces of neon, Ethernet cables, recycled Server Room equipment, electronics, computers, IP Cameras, programming
190 cm x 60 cm x 60 cm ( 74"x 23"x 25"): Weight approx 80 KG
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The machine thinks .....
a mechanical click the number changes and so it continues an occasional #glitch, interference a nanosecond of possibilities and so it continues |
Detail Shots
‘The Ancestor’ is a sculptural piece by data artist Rachel Ara exploring our relationship to machines and data and plays with notions of arts form and function being mutually exclusive. Originally the work was the prototype for Rachel’s large-scale ‘This Much I’m Worth’ installation, which was first exhibited at Anise Gallery in May 2017. In contrast with ‘This Much I’m Worth’, ‘The Ancestor’ is not powered by a set algorithm, instead producing its neon numerical output using a randomised computer program.
Being run by a single regular 13AMP plug, Rachel’s background in computer programming has been used to highlight the difference between its technical appearance and the realistic function of an artwork. Below the neon figures is the computer producing the numbers. Given that the viewer is not aware of how this computer functions, the artist wishes to draw attention to the inaccessible nature of various technologies we use on a daily basis, including the internet and our phones.
Merging the technological world and a human one, we notice that the sculpture is of human height bearing neon figures the size of a human head, so we are faced with an abandoned piece of technology that seems to have a life of its own, albeit as an artwork. Emphasis is placed on this status, and Rachel asks us to consider our relationships with machines around us, and question the trust we place in them.
Issey Scott // Gallery Manager // Anise Gallery
Being run by a single regular 13AMP plug, Rachel’s background in computer programming has been used to highlight the difference between its technical appearance and the realistic function of an artwork. Below the neon figures is the computer producing the numbers. Given that the viewer is not aware of how this computer functions, the artist wishes to draw attention to the inaccessible nature of various technologies we use on a daily basis, including the internet and our phones.
Merging the technological world and a human one, we notice that the sculpture is of human height bearing neon figures the size of a human head, so we are faced with an abandoned piece of technology that seems to have a life of its own, albeit as an artwork. Emphasis is placed on this status, and Rachel asks us to consider our relationships with machines around us, and question the trust we place in them.
Issey Scott // Gallery Manager // Anise Gallery
Supported by the Near Now Fellowship using public funding by the Arts Council England.
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