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Edition: 15 + 2 AP
Size: 30cm x 30cm
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My ongoing interest has been in proximity, affect and perception which has led me to produce work that explores and reframes the assemblages and relationships between the human and non-human. By studying geological archives and reinterpreting the found textures as movement and gesture through performance, film and sound, I use geology as a language to understand our relationship to a changing world. I try to open a space for imagination and a way to inhabit the otherness beyond ourselves where human gesture and seductive imagery meet. Here I search for new narratives and points of contact between language, surface and the body, and question how sensations might be created between people and objects.
The work presented for Align comes from an initial interest in, and experimentation of, scanning surfaces with a hand-held scanner where I sought a means of getting closer to the surface being scanned. I wanted to be able to record the gesture of touch, to try and capture the moment in which the scanner touches the image, and at the same time capturing the movement, over time, of the moving image into a single moment. That captured moment is a photographic reproduction or trace that behaves as a sedimentary layering of the moving image as the scanner output accumulates, line after line, time and image in motion. Each line is a trace of presence that is recorded and accumulated. Through these scanning, photographic explorations, the past is constantly reconfigured and re-enacted where the gesture of the scanner allows for it to embody the dual aspect of the image, both as a trace or evidence and as an artefact.
Mayra Martin Ganzinotti was born in Malaga, Spain, and lives and works in London. She received a BA in Art Practice from Goldsmiths College in 2010 and completed an MA in Print at the Royal College of Art in 2016. She is currently a TECHNE, Arts and Humanities Research Council funded MPhil/PhD candidate by practice at the Royal College of Art.
Ganzinotti works using a variety of media, spanning from writing and printmaking to photography, performance and film, sometimes operating alone but also in collaboration with others. Her practice interacts with a variety of fields and interweaves different media where she explores the relationship between voice, trace and language.
Selected group exhibitions and screenings include exhibitions with performances at Winter and Summer Show at The Florence Trust, London (2018); Screening at Symposium Vision’s Bleeding Edge: On nonhuman vision, liquid and crystal intelligence and AI, Courtyard Gallery, Royal College of Art (2018); Exhibition at Flight Mode, Assembly Point Gallery, London (2018). She is the recipient of the Augustus Martin Prize (2016) and National Prize of Printmaking, MGEC (2014).
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