PORTFOLIO
- Carlotta Aoun was born in Caracas, Venezuela in 1991. After studying Fundamental Physics in the Pierre et Marie Curie University (UPMC) in Paris and working with Elías Crespín as an artist assistant, she applied to the MFA Design and Technology at Parsons.
Her work explores the (im)materiality of what the common public perceives as unusual phenomena. Whether it involves spiritual, transcendental, or scientific experiences, she uses art as a medium to unlock the viewer’s mind to other realities, possibilities or dimensions.
In combining fine art techniques with scientific experimentation and technology (digital and/or analog), she provides a visual or interactive perception of what is ungraspable and expands the boundaries of “scientific invisibility” to a broader audience.
soft-()-face: intra/inter/extra
An installation about the human, technology, mutations and rituals.
-
-
-
Machines, in all forms and iterations, are expressions of humanity’s most ambitious ideas. They are traces, ruins and expectations of utopias, dystopias, fears, hopes, worse or better versions of the world(s) we inhabit. The future –maybe fictional– mutation endured by human kind through technological advancement has a new expression, one that defines the new hybrid, one that abandons the human and the machine for other becomings, for new constructions, for inconceivable futures. Machines are left as the hollow, perhaps (in)active remains of human dreams and expectations, the “sacred” remembrance of the organic human… relics of our humanness.
-
-
"intra-belief" is an installation that will produce the piece itself: a first try at visualizing the human as software. A series of tablets with glowing soft-screens made of latex call the user to an interaction with an empty screen, or an empty skin. The installation is set on a grid that symbolizes the digital as a way to remind the subject that even though he is flesh and lives in the organic world, he is part of a simulation that blends with the digital when interacting with a device. The interaction is repeated and overlapped with other user’s on a bigger screen, placed on the floor to simulate a pseudo-devotion to the interface, the digital, and the self while being connected to each tablet by a series of thick cables, reminding the structure of a central brain, a CPU of some sorts. At first hand the idea of devotion refers to a higher entity or energy, to the action of looking up. But through the interface the devotion is empty, it lacks a consciously adored icon, and it only drives the individual to dive deeper within the digital and within the self, looking down instead of up. As they see their isolated gestures become a collective performance on the bigger screen, they keep feeding the system. While they feed the system, their actions, through the other side of the screen, are recorded and used as the final resulting piece that resides in the invisible substructure of the digital, part of the meta-layer within the image on the screen. The recording also stands as a piece of human as software, of generative processes of gestures and interactions that operate an intricate substratum.
-
