Christian Kerrigan - Digital Artist Residency

Gallery 220 Exhibition: Instinct & Inspiration: Objects, Visitors & Artists-in-Residence at the V&A

11 March 2011

An Artist-In-Residence Film

Running time: 4mins

A film capturing the interaction and inspiration of my six month residency at the V&A, is currently showing in Gallery 220 in the Sackler Centre.

This exhibition forms part of the international conference entitled; Engaging, Creating: Artist and Maker Practitioner Residencies in Public Spaces.

Conference dates are Wednesday 6th, Thursday 7th and Friday 8th April 2011

Sackler Centre, V&A.

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'Capture', new installation at The Gopher Hole Gallery, Hoxton

10 December 2010

'Capture', a new installation at The Gopher Hole Gallery

Gallery opening hours:

10am-6pm Tuesday, Thursday and Saturday.

Exhibition runs until February 13th 2011.

'Capture', was photographed by news website GOOD.

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Forthcoming exhibitions at The Old Vic Tunnels, Waterloo and The Gopher Hole, Hoxton

15 November 2010

Curiouser and Curiouser, at The Old Vic Tunnels

A group exhibition curated by Submit2Gravity showcasing extraordinary, innovative and diverse range of art forms with dramatic and surprising results.

Exhibition opening 20th-21st November

About a Minute, at The Gopher Hole

An inaugural exhibition in the new gallery space The Gopher Hole curated by Aberrant Architecture and Beatrice Galilee, exploring new ways of curating ideas in contemporary culture and to provide a forum for sharp, critical debate on the arts and society.

Exhibition opening 9th December

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'Living' exhibition reviewed on Furtherfield

26 September 2010

Furtherfield are a community of artists, critics and creators engaged in fields of art, technology and social change.

Olga P Massanet reviewed the final exhibition entitled, 'Living'.

'A rather cryptic exhibition at the V&A. A personal exploration of the blurring between nature and culture in its absolute physicality. Paying particular attention to the materiality of the creative process, his methodologies show a passion for unfolding reality in its many scales.'

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'Examples to Follow!', exhibition on aesthetics, Berlin

03 September 2010

'Examples to Follow', an exhibition on aesthetics and sustainability.

Studio Lukas Feireiss and Tomorrow's Thoughts Today with Luis Berríos-Negrón – The Imaginarium: A Theatre for constructed ecologies.

Participating artists:
2 A+P/A, AMID (Cero9), Rachel Armstrong, Tuur van Balen, Christoph DM Barlieb, Philip Beesley, Luis Berríos-Negrón, Friedrich von Borries, Vincent Callebaut, Revital Cohen, Oliver Croy and Oliver Elser, Justine Cooper, Ecosistema urbano, Eric Ellingsen, Love Enqvist, finsterwalderarchitekten, Vincent Fournier, Lynn Fox, Terunobu Fujimori, Thomas Grünfeld, Ilkka Halso, Husos with Francisco Amaro, Theo Jansen, Christian Kerrigan, Greg Lynn, Ton Matton, Jürgen Mayer H., Lucy McRae, Achim Menges, Nomadisch Grün, Anton Markus Pasing, Phillipe Rahm, Francois Roche, Christiane Sauer, Terreform 1, The Center for Land Use Interpretation, The Why Factory, Triptyque, Mas Yendo, Liam Young.

Venues and schedule:
Uferhallen Berlin, exhibition: 3 September – 10 October 2010

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Developing a methodology between public interaction and studio process

01 July 2010

Though my residency was primarily a personal journey focussing on my methodology, it was also important for me to make work with an audience in mind. Therefore, I created three public displays during my time at the V&A. One, in the private staircase of the Henry Cole Wing, a second in a room adjoining gallery 220 and the final display made in my studio days before I left the V&A.

Within these three 'exhibitions', my methodology developed by creating a personal work flow, and exhibiting this to the public. Taking natural materials, such as clay and earth from the ground, amber from ancient forests, marine chalk or algae’s from the sea, each material was modified by taking it from its environment, in order to begin each piece of work. By digital manipulation and reconfiguration I used 3d scanning, computer software sculpting, programming chemical reactions through Nanotechnology, I created pieces which responded to their environments and changed over time. This was especially evident in my final two exhibitions entitled, 'Thirty Six Views of Edo' and 'Living'.

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The 200 Year Continuum exhibition in the V&A's Henry Cole wing studio entitled 'Living'

25 June 2010

In the studio where he has spent the past six months defining the methodologies of his growing anthology of works entitled The 200 Year Continuum, Christian Kerrigan, the first Digital Artist in Residence at the V&A, presents 'Living'.

Born and raised just outside Dublin, in Co. Wicklow, ‘The Garden of Ireland’, just when computerisation began to cause great changes in Irish history, Kerrigan’s work is concerned with the role advancing technology plays on our society and its relationship to the natural world. As we continue to modify the world and learn more about it, he enquires how this can, with time, modify our understanding of what is natural and beg the question, what is Nature?

The 200 Year Continuum, a timescale greater than a single human life, is the title he has given to his enquiry, with each new body of work acting as a middle story adding to the whole.

“In the progress of knowing and understanding in areas such as science and technology, the human challenge is to be satisfied with the unknown. It is the unknown which drives our innovation and exploration of the world. Deciphering our relationship between man and matter is an exploration I undergo through visual enquiry. I choreograph fundamental characteristics of technology and nature, such as the way computer software functions or yew trees grow. I stretch and integrate them, testing the limits of their attributes. Forging a better understanding of technology and nature allows me to better understand the extent of human endeavour. In this universality, I am, in fact, exploring my self.”

‘Living’ is the consolidation of Kerrigan’s six months at the V&A. In this time, he has begun to explore varying scales, mediums and sounds, forming relationships between nanoscale, video frame rate, colour calibration, chemical gradients, lumens, and natural light, as he considers how to physically manifest the ideas within The 200 Year Continuum.

In the V&A studio, large windows allow the public to penetrate the artist’s most private of moments, those speculative crises when he is trying to determine the trajectory of his own work. The studio has become an interactive tool and public interaction has become an integral component within the work. Indeed, placing the exhibition within the context of the studio has created a physical home for The 200 Year Continuum. Through living installation, chemical sculpture, and site-specific digital drawing, ‘Living’ invites the viewer to participate in Kerrigan’s investigation and draw from it their own conclusions.

Supported by the Paul Hamlyn Foundation and the Victorian & Albert Museum.