PROJECT VIRTUAL LOVE
In my project "Virtual Love" I reflect on the prospect of virtual reality aimed to the development of sexuality with the help of modern technologies.
In the modern world, it is possible to go beyond the boundaries of our materiality and physicality, as well as to overcome spatial limitations. Virtual tourism, virtual visits to museums and libraries give a sense of liberation from the physical body, but at the same time reproduce physicality in virtual space. It's another form of new physicality on the Web, which has become possible thanks to technology.
Scientists predict that the time when close relationships will move into virtual reality is not far off, because soon we will be able not only to see each other there, but also to feel touch.
Therefore, in my work I explore the transformation of the concept of physicality from a basic reality to a virtual one.
This is a look into a possible bio-technogenic future, creating a new world in which the body evolves, bypassing evolutionary concepts.
In this new world, virtual images no longer possess their own corporeality in the flesh, but create a new corporeality.
Moreover, a new kind of relationship will be formed in the new virtual reality space; a new sensuality will be created with it, and thanks to the latest technologies, the embodiment of tactile sensations will move into the world of a new sexuality.
I am creating a virtual reality simulation in my project, and since virtual reality is a simulation, I am creating the simulation of a simulation.
To simulate virtual reality, I use painting, in which I achieve the effect of uncertainty and movement, to dematerialize the bodies into new ones. We don't see their faces, facial
features, and bodies don't have subjectivity. But there are tactile sensations and emotions, sexual interaction of two bodies, two avatars.
I will use various painting languages and materials to develop the concept of virtual reality. This may also include the use of fluorescent colors that glow in the dark under the light of an ultraviolet lamp.
I plan to combine fluorescent and ordinary acrylic of the same color, creating an image, for example, with white-fluorescent paints on white canvas; therefore, the image becomes visible only in the dark when using an ultraviolet lamp.
Fluorescent paints express a chromatic field that does not exist in real life , nor in nature; those are the pigments of the virtual world. Only under certain conditions (UV lamp and darkness) do we see the image, that is, my virtual reality simulation. Just like in the case of "real virtual reality" you need conditions to see it (virtual helmet and related equipment), in my "virtual reality simulation" there may also be certain conditions.
I also draw figures with dots. These symbolize pixels in the digital world, and, in turn, are like an imitation of the building blocks that make up the human body (particles, quanta).
The paintings can capture movement in an unreal space, in the virtual space, often separated from perceived matter, with its proper definition.
The final stage of the project is the installation. On top of the picture simulating the movement of two avatars, I plan to use a projector to project an animation (based on the painted pictures), which will create the effect of the movement of the picture, create the final imitation of the virtual world, that is, an imitation of a simulation. We will see the movement of bodies on the surface of the canvas, smooth dissolution, blurring of the structure and again returning to certain boundaries of bodies ("body without organs" by J. Deleuze), a kind of deconstruction and reconstruction of virtual physicality. I am freeing myself from the familiar real world and physicality and experimenting with new associations of virtual physicality.
Thus, in my project I use a hybrid of digital components and handmade components, combining painting and projected animation to create my simulation model (i.e. virtual space).
