Angela Bulloch left her native Canada and moved to London where, after studying at Goldsmiths College, she embarked on an artistic career that consolidated when she joined the so-called Young British Artists (YBAs) and was nominated for the 1997 edition of the distinguished Turner Prize. The fact is that she became a key figure in the understanding of the interests of a group of artists who had been exploring the bridges between technology, memory and perception since the nineties.
Binary relations, the links between discourse and practice, order and perception lie at the heart of Bulloch's interests, and she has used them to create a range of highly reflective aesthetic environments in which the participation of viewers is obvious, for they themselves trigger the mechanisms that start the works through their own physical actions. In such an aesthetic and playful on/off dialectics, the modes of assimilating information, science fiction and the possibilities of translating certain narratives or musical theories from an artistic perspective become the leitmotifs of her works.
To achieve her objectives Bulloch strives to throw into relief the elements in the manufacturing, serialisation and sequencing of objects, and the relationship between these and their surrounding space. The outcome ends up concealing a complex mise en scène of the deconstruction of the gaze, in which she resorts to appropriation strategies—suffice it to think of the running time of legendary films by Kubrick or by her fetish film director Michelangelo Antonioni, that she uses in her famous “pixel boxes”.
Easy to Water, 2005. Wood, smoked glass, diffuser, RGB illumination, DMX device. 50,5 x 50,5 x 50,5 cm each [Ref# 38678] Spectator, 2005. Wood, smoked glass, diffuser, RGB illumination, DMX device. 50,5 x 50,5 x 50,5 cm each [Ref# 38601] The Missing 13 TH, 2005. Wood, smoked glass, diffuser, RGB illumination, DMX device. 50,5 x 50,5 x 50,5 cm [Ref# 38602]