“My response to the PIL Project is, like the collection itself, on-going and presents the .gif as a valid medium for artistic production.”
Jack Parrott’s contribution to PIL Project utilises his latest field of research, the investigation of space and its physical boundaries, by applying them to the PIL collection. Reflecting the Internet’s wealth of information, Jack’s work interprets the PIL collection as a series of hieroglyphic symbols in space, constantly bombarding of the viewer (i.e. internet user). The intense flashing from the .gif signifies the disorienting nature and attention deficit that social networks have seemingly caused amongst society. Yet, because of the nature of Jack’s practice, a paradox is borne as five physical screen prints – the building blocks for the .gif – reflect that of the utopic idea of tradition and contemplation.
This process can be described as transcoding, a process which Nicolas Bourriaud defined as part of the rise of digitalisation in the age of globalisation; “This passage from one code to another establishes, in contemporary artworks, a novel vision of space-time that undermines the notion of origin and originality […] an image is merely one moment in a chain without a beginning or an end.”(1) In this instant Jack’s .gif becomes a social critique, through its intensity, of the composed algorithms and the hands that form these “technological template that organize reality.”(2)
(1) Bourriaud, N., The Radicant (Lukas & Sternberg, New York, 2009). p.134
(2) Mejias, U. A., Off the Network: Disrupting the Digital World (University of Minnesota Press, London, 2013). p.38