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Artist Feature ://
Chloe Hurst
Posted February 2019





Real-time Road Reflection’, Chloe Hurst. Digital Sketch, 2018
Chloe Hurst’s practice is interdisciplinary, with inclusion of but not limited to sculpture, installation and digital art. Fascinated by materiality, actions and the methodology behind every aspect of creating, process is at the forefront of her work. Hurst sees her work as one large scale, ever evolving project that runs on a continuum. In an attempt to show viewers the powerful reciprocal nature of vision, she presents a digitally mirrored, real-time spectacle. Her recent work has created a dialogue surrounding materiality, and social presence, by streaming live videos within sculptural installations, produced with everyday, found materials.


Q. How was your experience of your recent MA, and what made you decide what to study and where?

Coming straight from undergrad to postgrad (1 year full time) was pretty intense, but I don’t think this is a negative thing. Modules such as ‘Digital Art’ and ‘Collaboration’ actually ended up shaping my practice in ways that I couldn’t have ever anticipated. It was an environment where creativity constantly materialised, and working alongside/having influence of 20+ artists allowed my practice to develop rapidly. After having an initial interview and tour around Kingston University, I was so impressed by the facilities, the relationships with entities such as the Stanley Picker Gallery, Dorich House Museum etc, and of course the incomparable Swan Studios (a converted pub and garden, now MA/MFA studios).





Going Around the Corner Piece (livestream)’, Chloe Hurst. Cardboard boxes, lockers, projector and action camera with harness, 2018
Q. With your work being so process based, how do you occupy an exhibition space?

I have often struggled in the past with knowing how much of the overall process should be visible within the final presentation of each piece. However I now find that documenting the build up to the exhibition eg: images of the studio spaces changing, myself experimenting with materials and processes, enables me to finalise a period of time and occupy a space cleanly. With the documentation I produce physical archives of my time spent on each project, that I print and bind using processes such as risograph, which are displayed alongside the final piece. For an exhibition I strip my work right back to just a few simple aspects which inform the bases of each concept for example, my last exhibition piece consisted of: a GoPro (harnessed to me), a projector, cardboard boxes and a locker. I find the combination of both methodologies to be really effective ways of controlling the complexities of a process based practice. 





Q. Responding to an increasing digital world has a key influence in your work, do you feel the way an audience experiences art will change and if so, how?

The digital world is ever evolving, this in turn increases the level of accessibility, and in many ways, challenges how audiences have always experienced art. The relationship that we have with the digital world of art, is built upon algorithms' of information which are immaterial - never existing without material support. Due to the temporal nature of the digital world, art work can exist in various life forms and can be be transferred and manipulated into endless virtuality's, the way in which audiences experience art is becoming more and more downloadable.





Virtual Emoji’, Chloe Hurst. Digital Sketch, 2018
Q. What are the roots of combining digital and physical aspects in your work and what are you trying to show an audience?

For the last few years I have been interested in the fundamental structures and accessibility of information through digital art. I have challenged said structures by juxtaposing digital within sculptural installations (produced with everyday materials). From the connection of real-time live-streams, with the body and objects within a space, a reflexive dialogue is created between all entities (the operator, the spectator and the target), thus questioning the dualities of seeing and being seen, and between ourselves and things. Working so literally with real-time allows for very accessible relationships to be produced and opens up the question of materiality and social presence, acting as the focus for dialogue and social interaction.


Q. Now you're fresh out of your masters, what's next for you and your work?

Since graduating I’ve been working remotely and producing work with the use of cameras, digital sketching, screen/mirror recordings and social media. I’m in the process of applying for international residencies, I think a dedicated amount of time and specific space with like minded individuals/groups, all working collectively and bouncing creatively off of each other, is very promising and exciting.





︎ www.chloehurst.net

︎  @chloehurst_art 

︎  chloehurst









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