The Monthly interviews Community Artist and Digital Artist, Gwen Stevenson – Part 2 – The Integration of Art and Technology

How did you develop your craft?

My craft developed while working in the Telecommunications Industry. I adapted to new technologies and challenges, especially with the emergence of mobile and data innovations. Introducing Ireland’s first text messaging platform in 1994 was a significant milestone, considering texting was still new. So, even before I returned to the arts, I was nurturing my creative and problem-solving abilities.

Later, I pursued a Fine Art degree at Dun Laoghaire Institute of Art, Design & Technology. The program offered three pathways: 2D art practice focusing on painting, print, and photography; 3D art practice centered on sculpture and installation; and 4D art practice exploring film, video, and performance. Naturally, I gravitated towards the fourth dimension, fascinated by its concepts of time and movement. Studying under esteemed artists Joy Gerrard and Amanda Ralph at IADT was a tremendous privilege.

At Ulster University, my practice in performance, site-specific installations, sound art, and temporary public art developed under the guidance of the wonderful Shirley MacWilliam and Tony Hill, who undoubtedly contributed significantly to my artistic development.

Since I’ve left art college, I’ve continued to develop my skills and have been fortunate to receive awards and training opportunities from Future Screens NI, Northern Ireland Screens, the game-changing Individual Artists Digital Evolution Award from the Arts Council of Northern Ireland, Invest NI, Digital Arts Studios and most recently I took a module in Generative Arts at the Creative Futures Academy in Dublin.

Dun Laoghaire Institute of Art, Design & Technology

Why technology?

I dislike the notion of art as a commodity to be bought and sold by the privileged few. Instead, I believe in democratizing access to art and challenging the elitism inherent in traditional gallery spaces. By leveraging digital platforms and open-source technologies, I aim to make my art accessible to a broader audience, transcending the limitations of physical space and socioeconomic status.

I’m drawn towards technology as my medium because it mirrors our contemporary reality, providing a dynamic platform that reflects the interconnectedness of our fast-paced society. With technology, I can explore and respond to current issues, trends, and cultural shifts in real-time. Its flexibility allows me to experiment across various forms, from interactive installations to digital performances.

Additionally, I appreciate technology for its eco-friendly nature. Unlike traditional art forms that often require significant resources, potentially harming the environment, technology enables me to create without leaving a tangible footprint, reducing my ecological impact.

While acknowledging the complexities and inequalities of today’s world, including the issue of digital poverty, my choice to embrace technology as a medium stems from a sincere desire to create responsibly and foster inclusivity.

You work in a wide range of arts disciplines particularly using digital technology – How did that development take place and what do you see as the key developments in the field of technology, art and the connection between the two?

In my art practice, I primarily focus on digital technology, but I also work across various disciplines within the traditional arts in my facilitation work, particularly for participatory and public art projects. I’ve always tried to ensure my projects are participant led responding to the context and needs of the groups and funders. Along the way, I’ve gained valuable experience, learning numerous new skills and connecting with people and places that I might not have otherwise had the opportunity to meet.

The main advancement in the intersection of art and technology is the increased affordability and accessibility of technology. I often use equipment that is several versions behind the current models and repurpose obsolete technology through hacking methods, significantly reducing expenses.

Thankfully, contemporary art now emphasizes social engagement, community involvement, inclusivity, and collaboration, moving away from the outdated stereotype of the solitary, tortured artist genius, which marginalised so many women, people of color, LGBTQ+ individuals, people living with disability, and many other underrepresented groups. Technology has freed us up to create communities and collaborate.

Of course, the intersection of technology and art has led to exciting developments such as virtual, augmented reality and mixed reality installations, generative art, blockchain and digital art, bioart and biotechnology, data visualization, and artificial intelligence in art creation and curation. The growing awareness of the ethical and social implications of these developments is key. Questions surrounding data privacy, algorithmic bias, ownership, regulation and the democratization of art and digital access are vital. I struggle with these issues, trying to ensure that my work enhances rather than undermines.

Probably, the most recent key development in NI has been the development of the Studio Ulster virtual production facilities and the use of gaming software in film-making. I recently spent a full-week at Ulster University participating in an ‘Introduction to UnReal Engine’ course with NI Screens. I was blown away by the power of the software and am working on ways to incorporate it into my practice.

See more of Gwen Stevenson’s work at the following link – gwenstevenson.com/

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