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Ciara OKelly
Brooklyn, NY
Neighborhood: Bedford-Stuyvesant



ARTIST STATEMENT: Ciara O’Kelly’s work takes the form of large scale video installations incorporating both digital and physical entities. Using 3D modeling as a point of departure, she curates virtual simulations and objects to function within subliminal scenes, whilst challenging the capabilities of these computer-generated forms. This process allows for complete control in staging the desired and the ability to successfully present a familiar façade. She draws from frameworks, systems and consumerist structures, critiquing our relationship to corporate bodies within a largely capitalist and digitized world. O’Kelly is particularly interested in the individual’s dual role as both a consumer and product within the system of data capitalism and its free labour nature. Through her work, she explores the ideology of mediating through technology to maintain psychological fulfillment and generic self-improvement. O’Kelly is an Irish artist born in 1995 who is currently living and working in Brooklyn, New York. In 2017, she graduated from the National College of Art and Design in Dublin with a joint First Class Honours Bachelor’s Degree in Fine Art Sculpture and Visual Culture. Following this, she was the recipient of the Digital Media Graduate Award residency at Fire Station Artists’ Studios and was shortlisted for the Royal Dublin Society’s Visual Art Awards 2017. In 2018, she was awarded the Young Artists’ Development Award from South Dublin County Council and was invited to exhibit at TULCA Festival of Visual Arts in Galway, Ireland. O'Kelly's work has been exhibited internationally in groups shows at Marabouparken Konsthall, Stockholm, KUUB, Netherlands, Hunterian Art Gallery, Glasgow and Benson Hall Gallery, Rhode Island. Her work is part of the Hunterian Art Gallery's collection. O’Kelly is currently a Spring Artist-in-Residence at Anderson Ranch Arts Center in Colorado.
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Procedures for a Prosperous Ecology is a dual-screen video installation illustrating the existence of a familiar cycle generated through interactions with cyberspace. Considering Ireland’s role as the “Data Centre Capital”, it references the physical housing of this data and its adaption to particular aspects within our environmental system, reimagining it as a more natural cycle we are subjected to.


A life-sized digitally modified personal photo album recreating some of the most memorable, crucial and intimate moments lived through. The use of accessible computer applications including Photo Booth and Google Earth Street View allow the artist to attempt to relive a perfect moment, capturing the seconds of anticipation before the desired moment of happiness is replicated.


Existence as a cyborg and reliance on a technological element cause the work to be heavily dependent on recorded interactions and responses solely within cyberspace. The virtual materiality of the artist’s data in the form of suggestive content used to construct this environment becomes an outlet for renewal, generic self-improvement and psychological fulfillment, a necessity in our current era of digital mass-consumption. The work explores the intensity of the human-computer relationship in relation to public and private space online, and the acceleration of the corporation’s inquisitive and invasive nature within this regarding our personal activities in cyberspace and beyond. The work strives to create a space of comfort and intimacy between the artist, the viewer and the anonymous, faceless characters living in our screen, through the re-appropriation of generic, exhausted, low-resolution imagery.


 








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