Based around the notion of the projective city and the culture of culture The Networked Landscapes looks towards the Hunterian model of the artist being an ‘aesthetico-ethical exemplar’.
An installation which stems from a body of research which outlines how the creative industries and culture industries recalibrate the figure of the artist as a model for the enterprise economy. This model extols the virtues of implicit forms of arts practice within an economic rather than a moral rationale.
A large scale installation which uses video, sound and projection mapping to combine elements of man made spectacle, at once part of the very thing it seeks to critique. Sitting uncomfortably in its own position, The Networked Landscapes wishes at once to be high art, while desperately seeking a place within the city of culture paradigm.
This sculpture will be at home in any 'City of Culture' or presented as a spectacle in 'Culture Night', each presentation activating it as both critique and as embedded in the very thing it seeks to critique, the default and precarious position many visual artists must take when attempting to operate within multiple economies.