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matt.ohare
art.performance.research

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The Cure For All Disease

We The New Community

39 To Beam Up

Holograms

Tactile Music

Labyrinths

Tongues

Early Works


Prism House

Music Videos

Photography


Press

Bio

CV



LABYRINTHS (2014-2018)

Red Labyrinth (web version) (2018)

The symbol of the labyrinth has become an important point of contact for many of my works over the years. In addition to its connotations of pilgrimage and self-interrogation, I believe the labyrinth has new resonance in a technologically-dependent society increasingly accustomed to instantaneity.

In effect, the labyrinth complicates the journey between one point and another through the imposition of a circuitous path. Conversely, the conventional application of technology is to reduce or eliminate the space between impulse and action. The speed and efficiency offered by digital technology appears universally accepted as a positive; yet in the absence of resistance and delay, we users of such systems are also deprived of valuable time for reflection and consideration.

The labyrinth therefore represents the purposeful integration of space and time for creativity. Through the introduction of resistance between the self and some goal, we are encouraged to reflect on our choices and potentially arrive at a better solution.

WHITE LABYRINTH (ECHO CHAMBER) (2015)

Screencapture of White Labyrinth (Echo Chamber) (2015).

A generative labyrinth with walls that are textured recursively. In various iterations I have experimented with allowing the viewer to move freely throughout the space at their own pace (which required collision-detection).

Ultimately, I settled on automating the movement pattern (at a contemplative speed), and giving the viewer the option to determine where to look. By adjusting the point of view, the user/pilgrim affects the reflected texture in each panel of the structure; a global change in the environment.

Created in Processing.

The music featured in the above video comes from a series of vocal improvisations I recorded in 2012 called Phaeton.

Imagery such as the above has served as content for live music performances as well as a series of digital prints.

Video stills from an alternate, color version of Echo Chamber.