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#GlitchGoddess of Art Basel Miami Frame 695 with Red Wireframe

#GlitchGoddess of Art Basel Miami 695, in Reddish Wireframe
Archival Digital painting on aluminum with print-triggered, Chronometric Sculpture, Augmented Reality App on iOS and Android app, with Audio.
Media: 3dCG modeling and rendering, Motion Capture, Animation, print, sound, and augmented reality.
35″ X 50″
By Marjan Moghaddam
In-app recording from targeting to launch

#GlitchGoddess was born through my #arthack Net Art project on Instagram which started in 2016. She was derived from #GlitchedOdalisque at the Whitney (2017), and then gradually evolved until her final iteration in “Kavanaugh Haunted My Frieze London #Arthack” (2018). She was simultaneously a feminist response in the #Metoo era, and also a digital intervention as a 21st century style of figuration alongside other #digitalbodies in my art practice.

Last December, #GlitchGoddess and #GlitchedOdalisque both appeared in my Art Basel Miami hack as feminist intervention with voices of women artists complaining about inequality in the art world. This hack then went viral, with over 3.6 million views on my Facebook page, and another 1.5 million views on Arts In Paris Page. In my digital art practice, I deal with Glitch as a conceptual element and an aesthetic one, representing how the digital alters the physical, and can expand on it.

#GlitchedGoddess glitches existing ideas of the female as defined by a single body type, and its associative meaning. Employing the plasticity of the digital through animation, she morphs from skinny, heavy, buff, slender, pregnant, to stylized, and even abstract, in defiance of the idea that the nude in art is a singular body type. Last November she appeared out of a Fractal Niche wall print, as an animated Augmented Reality app, for the #EnamoredArmor exhibition at Rowan University gallery. As identity expands exponentially through the possibilities of the virtual, humanity is re-engineered in ways that go beyond the physical. In this way the digital becomes an art historical intervention, and her appearances in my #arthacks are part of my primary mission of creating this collection as a disruption. To hack is merely transgressive, but to do so with a critical discourse is transformational.

In this version the print image is derived from frame 695 of the Art Basel #arthack, and the animated chronometric Sculpture AR is set to a stream of consciousness voiceover with women complaining about their bodies and also inequality. Many of the comments on these voiceovers were taken from comments that appeared on the viral video by women from across social media, in this way expanding and crowdsourcing the digital art through net interaction. The wireframe background resembles quilting when examined up close, a craft form ascribed to women in multiple cultures and in various eras, while simultaneously suggesting the digital and the virtual.

My glitched #digitalbodies also utilize aesthetic styles that I have evolved since the 1990s in my CG practice, as part of a figural vocabulary that explores the evolving nature of humanity. They can be seen in various collections that I have exhibited since. Some of these figures have been covered in Fractal dermal pigmentation (1990s), been aggregated out of platonic primitives, or digital kitbashing, constructed as energy (2009-2016) or as morphing continuous forms, indicating various ways that our hybrid physical and digital lives have changed us. Since 2008 I have been using Motion Capture in addition to other channels of animation starting with Scab (Siggraph CAF and Best of 2009), culminating in an aesthetic and conceptual style that I have since termed as Chronometric Sculpture. Using Motion capture, pose-to-pose-animation, simulations and dynamics, this technique blends the aesthetics of animation with that of sculpture, drawing from an art historical repertoire in addition to contemporary CG and cinematic influences.

These figures remind us, that every aspect of our experience is now glitched as they push against a backdrop of late stage capitalism, patriarchy, economic and social injustice, and Climate Change, in a bid to define this century, just as early modernism did with the last.

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