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Cristobal Cea-Sanchez
brooklyn, NY
Neighborhood: Bushwick



ARTIST STATEMENT: What is my work about? Nothing in particular: Nevertheless, I can enumerate some of the characteristics that define it; It is nostalgic, somewhat spiritual and it aches from a kind of silence that I can not yet understand. Paradoxically, it is work that has always been related to new technologies and –most of the times- created against their flow. Handicrafted wooden Cell Towers that jam communication signals (NoFi and ColdSpot), or embody a metaphor for the penetration of digital culture and it’s economy in cultural spaces (La Necesidad). Memorials of grief and pain for computers that can not feel such a thing (Big Blues, Catastrophic Failures), and prototipes for haptic communication (Tacto), are some of the works I have developed under the pretext of thinking of the human trough the lens of the digital: A lens that nowadays exerts a great influence on our conduct and expectations for the future. During the past two years, I have concentraded my attentions in “Reversals”: A series of 3D animations and site-specific installations, that take as its starting point, newsreel of events that where once global in the Internet and are now mostly forgotten: Floods, fires and protests that I then recreate as computer animations. In these, the workflow of digital postproduction and 3D animation, is reversed to allow an extended gaze onto this events –like the floods of concordia, the shooting of a boy in Venezuela or the burning of a church in manhattan-, that deserve a longer attention span than the one we can usually give. The notion of distance, I suppose, is a central point of this series of works that I am currently creating: The inconsolable distance between spectator and the geography of the events, the very human need to try to bridge this divide, and rescue this news, this floods, this protests and fires, from the oblivion and carelesness specific to a time –our time-, when the flow of images seems to overflow our capacity to take care of what they represent.
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A derelict and covered Hawker Hunter fighter jet glides, as if possesed, within an endless loop. The video deals with the jet that was used to bomb the La Moneda Palace during the military coup of September 1973, in Chile. It deals with the intrinsic qualities of CGI, as in summoning what is no longer present, and certain notions of the monstrous related to that which -as in the notion of virtual- is real in effect, but not in fact.


Part of a series of experimental videos, where I use motion capture techniques to remediate news clips from events of global relevance. In this case, a short clip about the protests that took place in Venezuela.


Stability is a series of short videos related to notions of artificiality and vision. The videos seemingly banale moments that are captured without any stabilization, and take them into a 3D enviroment where they are displayed by a television set that compensates for the motion of the original footage, rendering it, finally, stable. I'm interested in the notion of the witness here, and at the same time, in the apparent obsession for resolution and stability that is prevalent within the field of digital media.


 








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