The computer is the mirror image of the self. Our chromosomal foundations of Xs and Ys correspond to the computer’s binaries of 0s and 1s. The computer ‘sleeps’ and ‘breathes’, and its programs can be ‘aborted’. The machine is equally susceptible to viruses and other ‘digital diseases’, and eventually, dies through failure. The machine reflects our own programmed society; bound by governmental laws and spiritual beliefs, constructs of gender and binary thinking (e.g. yes/no, good/bad, he/her), historical inaccuracies posing as truth and ‘reality’ television. These façades are almost always exploited by philosophical and Capitalist doctrines to gain power and control.
The screen is a matrix to an abundance of intelligence and holds potential for subversions of authority. By breaking down societal rules via glitch-based and deep learning techniques within a hacktivist ideology, I celebrate these potentials for error in the hopes to disrupt various forms of control. All software used to create each work is sourced from either open source software or has been ethically pirated. Each work presented rebukes the notion of ‘Copyright’ and performs within the Copyleft movement; encouraging those who stumble upon each work to copy, duplicate, remix and distribute any or all part of the work.
The screen is a matrix to an abundance of intelligence and holds potential for subversions of authority. By breaking down societal rules via glitch-based and deep learning techniques within a hacktivist ideology, I celebrate these potentials for error in the hopes to disrupt various forms of control. All software used to create each work is sourced from either open source software or has been ethically pirated. Each work presented rebukes the notion of ‘Copyright’ and performs within the Copyleft movement; encouraging those who stumble upon each work to copy, duplicate, remix and distribute any or all part of the work.
Jessica Evans (b. 1995, UK).
jessicasianevans@protonmail.com
jessicasianevans@protonmail.com
Education:
2018 Fine Art (BFA) – The Ruskin School of Art, the University of Oxford, Oxford, UK
2015 Foundation Diploma in Art and Design – Arts University Bournemouth, Poole, UK
Group Exhibitions:
2021 - 2021 The Terminal: Human Shaped Whole, curated by Offsite Project and directed by Jason Isolini, Anonymous Gallery, NYC, USA.
2019 - 2020 The Wrong Epicentre, The Wrong Biennale, Centre Del Carme, Valencia, Spain and Online (OpenWRT)
2018 RUSKIN SHORTS, Modern Art Oxford, UK
2018 Ruskin Degree Show, The Ruskin School of Art, The University of Oxford, UK
2018 Ladies and Gentlemen, TESTT Space, Durham, UK
2017 - 2018 ϟℙ∀ℳℳ▁ℙϴШ€ℜ Pavilion, The Wrong Biennale
2017 - 2018 ϟℙ∀ℳℳ▁ℙϴШ€ℜ, www.spamm.fr
2016 Ruskin Preliminaries, The Ruskin School of Art, The University of Oxford, Oxford, UK
Solo Exhibitions:
2017 - 2018 That Perfect Moment, Radcliffe Science Library, Oxford, UK
2017 That Perfect Moment, The Dolphin Gallery, St. John's College, Oxford, UK
Press:
2019 The Wrong Epicentre, The Wrong Biennale, https://epicentre.thewrong.org/en
2017 EXON, Autumn Issue 20, pp. 50, https://www.exeter.ox.ac.uk/wp-content/uploads/2017/07/exon-17.pdf
2017 EXON, Autumn Issue 19, p. 12-13, https://www.exeter.ox.ac.uk/wp-content/uploads/2017/07/exon-16.pdf
2016 Artlyst, "Ruskin Preliminaries", http://tinyurl.com/j2hh4z6
Awards:
2018 Egerton Coghill Landscape Prize (Highly Commended), The Ruskin School of Art, The University of Oxford, UK
2016 - 2017 Waugh Scholarship, Exeter College, The University of Oxford, UK
2016 Fitzgerald Prize, Exeter College, The University of Oxford, UK
2014 Royal Academy Online Exhibition (Shortlisted), UK