Coil Room – 2
Artist: Victoria Scott
Work ID: 49186
Description: 1995 [1 min. 5 sec.]
[installation documentation video: documentation from Net@Works exhibition, at the Centro Nacional de las Artes in Mexico City, from October to November 1995.]
Matériaux : steel, motors, mechanical parts.
Dimensions: 15 sculptures total: 4 x 6 x 4 feet each. Up to 1500 sq. feet when installed as a group.
Coil Room, fills a 1,500 square foot space with fifteen vibrating four foot round inverted steel coils, extended from the ceiling almost to the floor. Spaced apart so that viewers may walk among them like an exotic/erotic garden, powered by sexual energy. The spirals movement is controlled by a slowly rotating 3 foot round disk imprinted with a colour image of a vulva, which acts as a switch. The work envelops and induces a sympathetic resonance in the viewer.
This installation emerged out of a series relating technology and the female body. Coil Room was created as an exploration of vibration and resonance as a power source to create hypothetical machines that are driven by female sexual energy and emotional power.
This installation was originally exhibited as part of a show called Net@Works at the Centro Nacional de las Artes in Mexico City with 11 other Canadian electronic media artists from October to November 1995. It has also been presented as part of Organic Mechanics, in Nov. 1998, and at the Cambridge Gallery in May 1999.
Production Centre: InterAccess Electronic Media Arts Centre, Toronto.
Collection:
Date de réalisation : 1995
Matériaux : vidéo
Collection virtuelle : Original CCCA
Oeuvre d'art par Victoria Scott
Negative Vibes
Artist: Victoria Scott
ID : 49189
Description: 1992 [1 min. 16 sec.]
[exhibition documentation video: video documentation from Steel Toed Boots exhibition, 1992, 183 Bathurst, Toronto, Canada]
Matériaux : steel, motors, mechanical parts, chain, motion sensors, copper screen, embroidery thread
Dimensions: 6 sculptures total: three steel plates, 2.5' x 2.5 each; three embroideries, each 8" x 8". Approx. 800 sq. feet when installed together.
This installation emerged from a body of digital work, which explored the merging of woman's bodies (lifted from lesbian and heterosexual pornographic sources), with images of tools and machinery. Negative Vibes (1992), features the images of three women's faces, which were scanned and reworked on the computer, then blown-up and chemically transferred onto the surfaces of three 1/8" thick steel plates.
The women's images were ground into the steel (appearing as photographic negatives) and suspended by steel chain. When a viewer approaches, a motion sensor detects their presence and activates an eccentric motor mounted behind each steel plate, which vibrates the plate (subtly or violently). The women, can 'respond' positively or negatively to persons within a range of two-feet.
As a companion to the steel plates, three embroideries resembling vulva's, which have been stitched onto copper screen (from memory), are mounted on a facing wall. This installation was also shown at ArtSpace in Peterborough, as part of Handmade/HandHeld (1992), an exhibition of artist work created from research.
Production Centre: InterAccess Electronic Media Arts Centre, Toronto.
Des mesures :
Collection:
Date de réalisation : 1992
Matériaux : vidéo
Collection virtuelle : Original CCCA
Coil Room – 2
Artist: Victoria Scott
ID : 49186
Description: 1995 [1 min. 5 sec.]
[installation documentation video: documentation from Net@Works exhibition, at the Centro Nacional de las Artes in Mexico City, from October to November 1995.]
Matériaux : steel, motors, mechanical parts.
Dimensions: 15 sculptures total: 4 x 6 x 4 feet each. Up to 1500 sq. feet when installed as a group.
Coil Room, fills a 1,500 square foot space with fifteen vibrating four foot round inverted steel coils, extended from the ceiling almost to the floor. Spaced apart so that viewers may walk among them like an exotic/erotic garden, powered by sexual energy. The spirals movement is controlled by a slowly rotating 3 foot round disk imprinted with a colour image of a vulva, which acts as a switch. The work envelops and induces a sympathetic resonance in the viewer.
This installation emerged out of a series relating technology and the female body. Coil Room was created as an exploration of vibration and resonance as a power source to create hypothetical machines that are driven by female sexual energy and emotional power.
This installation was originally exhibited as part of a show called Net@Works at the Centro Nacional de las Artes in Mexico City with 11 other Canadian electronic media artists from October to November 1995. It has also been presented as part of Organic Mechanics, in Nov. 1998, and at the Cambridge Gallery in May 1999.
Production Centre: InterAccess Electronic Media Arts Centre, Toronto.
Des mesures :
Collection:
Date de réalisation : 1995
Matériaux : vidéo
Collection virtuelle : Original CCCA
Coil Room – 1
Artist: Victoria Scott
ID : 49185
Description: 1995 [3 min. 39 sec.]
[installation documentation video: documentation from Organic Mechanics exhibition, November-December, 1998.]
Matériaux : steel, motors, mechanical parts.
Dimensions: 15 sculptures total: 4 x 6 x 4 feet each. Up to 1500 sq. feet when installed as a group.
Sponsored by: InterAccess Electronic Media Arts Centre and installed within a former leather coat factory, in the garment district of downtown Toronto.
Coil Room, fills a 1,500 square foot space with fifteen vibrating four foot round inverted steel coils, extended from the ceiling almost to the floor. Spaced apart so that viewers may walk among them like an exotic/erotic garden, powered by sexual energy. The spirals movement is controlled by a slowly rotating 3 foot round disk imprinted with a colour image of a vulva, which acts as a switch. The work envelops and induces a sympathetic resonance in the viewer.
This installation emerged out of a series relating technology and the female body. Coil Room was created as an exploration of vibration and resonance as a power source to create hypothetical machines that are driven by female sexual energy and emotional power.
This installation was originally exhibited as part of a show called Net@Works at the Centro Nacional de las Artes in Mexico City with 11 other Canadian electronic media artists from October to November 1995. It has also been presented as part of Organic Mechanics, in Nov. 1998, and at the Cambridge Gallery in May 1999.
Production Centre: InterAccess Electronic Media Arts Centre, Toronto.
Des mesures :
Collection:
Date de réalisation : 1995
Matériaux : vidéo
Collection virtuelle : Original CCCA
Burn
Artist: Victoria Scott
ID : 49184
Description: 1997 [2 min. 21 sec.]
[installation documentation video: documentation video from the exhibition Organic Mechanics, November-December, 1998]
Matériaux : steel, aluminum, photocopies, printer, motor, gear and chain, fan, heating element.
Dimensions: 10 x 10 x 8 feet
Sponsored by: InterAccess Electronic Media Arts Centre and installed within a former leather coat factory, in the garment district of downtown Toronto.
As the wheel turns, a switch is triggered on an ink-jet printer and one photocopy of a photograph is taken off a stack and dropped into an aluminum basket. The basket revolves slowly clockwise around the vertical eight foot mechanically driven wheel, which bears a design in metal filigree, representing the shapes of two snakes on the verge of swallowing each others tails (a double Oroborous).
When it reaches the other side, the photograph is dumped out into a small firebox with a heating element stretched across it. As it bursts into flames, the ashes fall into the fire pit and the smoke is sucked up and vented out of the exhibition space. The wheel continues revolving back towards the stack to retrieve the next photograph, and so on, each complete revolution taking about 5 minutes to complete.
The photograph is of the artist's deceased father. Soon after he passed away, all of his belongings and personal papers were destroyed. One of the few remaining images of him is this photograph. Burn, evokes memories, spirits, sacrifice and wishing. Each time the photo is carried around the wheel it is bound to the laws of eternal reoccurrence and the inevitability of dissolution.
Production Centre: InterAccess Electronic Media Arts Centre, Toronto.
Des mesures :
Collection:
Date de réalisation : 1997
Matériaux : vidéo
Collection virtuelle : Original CCCA
Warm
Artist: Victoria Scott
ID : 49191
Description: 1998 [1 min. 48 sec.]
[exhibition documentation video: video documentation from Aurora Universalis exhibition, Janurary to March, 1998, at InterAccess Electronic Media Arts Centre, Toronto, Canada]
Matériaux : custom electronics and sensors, solid state relays, heating coil, wire, plexy glass, fire board, galvanized steel, compost, 'red wriggler' worms
Dimensions: 144 x 30 x 30 inches
A three-foot wide, false wall of concrete board stands floor to ceiling in the gallery. Mounted vertically on the board are four lengths of high-heat toaster wire, arranged together to form a three foot round pattern of a Celtic knot.
On the gallery floor, beneath the knot, sits a three-foot round composting bin. Buried in the soil are many 'Red Wriggler' composting worms, decayed organic matter (vegetable scraps, eggshells and coffee grounds) from my kitchen and four sensors.
Under the soil, the composting worms form a 'ball' or knot as they gather around decaying vegetable matter. The worm's ingest the rot and excrete nutrient rich compost. Lying in this underground space, breaking down organic matter into compost, the worms exist in the space between the death and the new cycle of creation.
The worm's activities are recorded by sensors buried in four areas of the compost bin. Their minute signals are amplified and sent to a circuit that modulates the electrical current to each of the four strands of heating wire that make up the Celtic knot.
The heating coil glows red hot when it is activated, the glow fades there is no worm activity. Worms will not come to the surface in daylight, so the brighter the exterior light, the deeper the worms will burrow down into the soil.
Both geometrically complex and aesthetically pleasing, the Celtic knot has been used for centuries in magic and decoration. A symbol that bridges both the spiritual and physical worlds, the knot has been described as a labyrinth or as a piece of yarn guiding safe passage to the underworld.
Production Centre: InterAccess Electronic Media Arts Centre, Toronto.
Des mesures :
Collection:
Date de réalisation : 1998
Matériaux : vidéo
Collection virtuelle : Original CCCA
Occult Chemistry
Artist: Victoria Scott
ID : 49190
Description: 2000 [53 sec.]
[exhibition documentation video: video documentation from Pandora's Box group exhibition, March 4 - 18, 2000 at InterAccess Electronic Media Arts Centre, Toronto, and Fylkingen Gallery, Stockholm, Sweden]
Matériaux : hardcover books, power supplies, metal, motors, wood, stainless steel bowls, and coloured 'goo'
Dimensions: 7 sculptures total: up to 500sq. feet when installed as a group.
These seven, simple mechanical sculptures were originally assembled together as a miniture installation to be viewed by the video eye of a small robot for the group exhibition Pandora's Box, (2000), at InterAccess Electronic Media Arts Centre in Toronto, Canada. The robot was remotely controlled, six thousand miles away, by gallery visitors in Stockholm, Sweden, using a high-speed broadband Internet link, while visitors to InterAccess controlled a robot through simular installations in Stockholm.
These works, reconfigured for the wall, offer bits of visual information then take them away, or move so quickly that we can only perceive a small portion of their content and form.
The three main elements; the opening/closing books, the churning pots of 'goo' and the whirling metal molecules (which are based upon the drawings of two 19th Century English Spiritualists/Alchemists who wished to intuit the forms of sub-atomic matter) also combine to simulate the X, Y and Z of the Cartesian Plane that combine to create the three dimensions of all matter.
Production Centre: InterAccess Electronic Media Arts Centre, Toronto.
Des mesures :
Collection:
Date de réalisation : 2000
Matériaux : vidéo
Collection virtuelle : Original CCCA
emotional response #1 – 1
Artist: Victoria Scott
ID : 49187
Description: 2001 [1 min. 38 sec.]
[installation documentation video: documentation of group exhibition Paradise Refracted, at the Robert McLaughlin Gallery in Oshawa, Ontario, Canada, from January 17th-March 17th, 2002.]
Matériaux : aluminum parts, hardcover books, basic stamp, power supply, solenoids, solid state relays, CCTV camera, Macintosh computer, MAX/MSP 4.07, and softVNS.
Dimensions:16 sculptures total; 12 x 12 x 9 inches each. Up to 1000 sq. feet when installed as a group.
e-motional response #1 is an interactive installation of 16 books, spread open on the floor in random clusters. As the viewer approaches, the books closest snap shut, while those slightly farther away remain open, their text just out of visual range. Like a bed of clamshells or cats that invite you to rub their soft bellies, only to pull away when you come too close. As the viewer wades into the flock of books, the ones that had first closed, reopen.
When the books slam shut many of our feelings towards information and technology might be triggered. These machines have perhaps decided to treat us as a child, censoring the access to knowledge and limiting the amount of information they are allowed to digest. Or, they could also be acting out of consideration; perhaps sensing that exposure to too much information could cause us to shutdown emotionally. Our participation in this process is 'rewarded' by the satisfying auditory 'slam' of the book covers as we approach. However, this reward might simply be the incidental byproduct of a reaction: self-preservation, gentle denial, or blunt refusal intended to discourage our further interaction.
The books used in the installation are chosen not for their content but as functional and symbolic objects; the significance of the text is less important than communicated by their response to the participating viewer. The behavior of the mechanical parts is reaction based, triggering a dualistic response of 'on or off', 'open or closed'. At first, the books offer an invitation share their contents and satisfy the viewer's curiosity but withhold their information when approached. Although the viewer is denied access to the text within, they may closely examine the mechanics and technology that animate and hold the books tightly shut.
This work was has been exhibited as part of a 2-person exhibition, Kryptica, with US-based, Canadian New Media Artist, Louise McKissick, at The Artemisia Gallery in Chicago, from September 6th-29th, 2001 and in Mexico City at the Centro Multimedia, within the Centro Nactional de las Artes from November 15th-Dec 15th, 2001. Recently, it was part of the group exhibition Paradise Refracted, at the Robert McLaughlin Gallery in Oshawa, Ontario, Canada, from January 17th-March 17th, 2002.
Production Centre: InterAccess Electronic Media Arts Centre, Toronto.
Des mesures :
Collection:
Date de réalisation : 2001
Matériaux : vidéo
Collection virtuelle : Original CCCA
emotional response #1 – 2
Artist: Victoria Scott
ID : 49188
Description: 2001 [52 sec.]
[installation documentation video: documentation of exhibition at Mexico City at the Centro Multimedia, within the Centro Nactional de las Artes from November 15th-Dec 15th, 2001.]
Matériaux : aluminum parts, hardcover books, basic stamp, power supply, solenoids, solid state relays, CCTV camera, Macintosh computer, MAX/MSP 4.07, and softVNS.
Dimensions:16 sculptures total; 12 x 12 x 9 inches each. Up to 1000 sq. feet when installed as a group.
e-motional response #1 is an interactive installation of 16 books, spread open on the floor in random clusters. As the viewer approaches, the books closest snap shut, while those slightly farther away remain open, their text just out of visual range. Like a bed of clamshells or cats that invite you to rub their soft bellies, only to pull away when you come too close. As the viewer wades into the flock of books, the ones that had first closed, reopen.
When the books slam shut many of our feelings towards information and technology might be triggered. These machines have perhaps decided to treat us as a child, censoring the access to knowledge and limiting the amount of information they are allowed to digest. Or, they could also be acting out of consideration; perhaps sensing that exposure to too much information could cause us to shutdown emotionally. Our participation in this process is 'rewarded' by the satisfying auditory 'slam' of the book covers as we approach. However, this reward might simply be the incidental byproduct of a reaction: self-preservation, gentle denial, or blunt refusal intended to discourage our further interaction.
The books used in the installation are chosen not for their content but as functional and symbolic objects; the significance of the text is less important than communicated by their response to the participating viewer. The behavior of the mechanical parts is reaction based, triggering a dualistic response of 'on or off', 'open or closed'. At first, the books offer an invitation share their contents and satisfy the viewer's curiosity but withhold their information when approached. Although the viewer is denied access to the text within, they may closely examine the mechanics and technology that animate and hold the books tightly shut.
This work was has been exhibited as part of a 2-person exhibition, Kryptica, with US-based, Canadian New Media Artist, Louise McKissick, at The Artemisia Gallery in Chicago, from September 6th-29th, 2001 and in Mexico City at the Centro Multimedia, within the Centro Nactional de las Artes from November 15th-Dec 15th, 2001. Recently, it was part of the group exhibition Paradise Refracted, at the Robert McLaughlin Gallery in Oshawa, Ontario, Canada, from January 17th-March 17th, 2002.
Production Centre: InterAccess Electronic Media Arts Centre, Toronto.
Des mesures :
Collection:
Date de réalisation : 2001
Matériaux : vidéo
Collection virtuelle : Original CCCA
Permitted Space
Artist: Victoria Scott
ID : 49346
Description: 2002 [video length: 4 min. 30 sec.]
[public art project documentation]
Permitted Space was a project in which a group of street-identified (homeless) young women created an electronic/mechanical public sculpture. The goal was to introduce the concept of technologically-mediated public art work and interventions to these women and work with them in my studio to create a sculpture based on their own ideas of how to interact with the public and ease social barriers.
The result is a mobile puppet theatre (office tower), with a mechanised 'Boss-Puppet' who responds to your wishes and threats. We, the 5 women (Neltashi, Nikki, Sunshine, Mirium & Freedom), myself, and facilitators Krystal Kraus & Mike Steventon, brainstormed around the concept of 'exchange'. Based on these conversations, the women decided through guided consensus what they would like to create. We worked collaboratively for 4 weeks and then presented it for 2 days at various locations on the streets of Toronto.
Passersby were asked to write down their desires and complaints to the 'universal-boss' and insert their message into the machine. The 'boss' responded to each person with one of three programmed (and improvised) personal messages.
Matériaux : steel, aluminum, wood, motors, handcart, car battery, custom electronics.
Dimensions: 8 x 2.5 x 2.5 feet
Sponsored by: The Ontario Arts Council, Beat the Street, InterAccess Electronic Media Arts Centre.
Des mesures :
Collection:
Date de réalisation : 2002
Matériaux : vidéo
Collection virtuelle : Original CCCA
