Archive 2021 KubaParis
SubheadlineWalkaway presents artworks centred around an interest in exit culture and the infrastructure it endeavours to leave behind. Responding to research and conversations surrounding iridology studies and the disclosed practice of commercial content moderation, sculptural assemblages reference the inherent metaphoric vision of both subjects. Discussed is the global politic, prosumer tendencies, and the eye as a new media factory - both empowered and penetrated. Using techniques of fibreglass mould making, steelwork, resin printing and outsourced oil painting, production becomes confused; depicting juxtaposed positions of a failing pipe dream. Using sculpture and painting, Jordan Halsall utilises art’s capacity to represent dissonant ideologies in order to critically address computational based progress. The work journeys through optimisation, growth and technological change. He is a current board member of TCB Art inc. Selected solo exhibitions include Fertilizer, Conners Conners (2020) and Task Executor MUMA Science Gallery (2020). Selected awards include the John Vickeray Scholarship, Maude Glover Bursary and the MUMA mentorship award.
In the early 1800’s, a young lad named Ignatz von Peczely of Egervar near Budapest, Hungary, caught an owl in his garden. The 11-year-old boy struggled with the frightened bird and met with its fierce claws as the bird instinctively tried to defend itself. In the struggle, the boy accidently broke the owl’s leg. As the youth and the owl glared into one another’s eye, the by observed a black stripe rising in the owl’s eye. Von Peczely bandaged the owl’s leg and nursed it back to health and released the bird; but the bird stayed in the garden several years afterward. Von Peczely observed the appearance of white and crooked lines in the owl’s eye where the black stripe had originally appeared. From the book Iridology Simplified