![]() ![]() Rather than to comment on what the Metaverse actually offers in the way of “new experiences,” this chapter focuses on the language of Metaverse in the light of the Surrealist notion of uncanny. Mark Zuckerberg recently introduced his latest project, which he calls the “Metaverse,” a virtual reality experience that somehow simulates, integrates with, and expands upon our lives, but is as yet merely theoretical. This thesis and my paintings scrutinize our emergent metaverse and its gaze, creating a conversation and investigation into the precarity of global social conditions that subjugate humanity through a commodity driven existence-ultimately employing an artform that embraces the pixelated mirror coauthoring our reality with its own reflections. ![]() Forming constructs of alterity, the paintings assemble a fragmentary portrait of our metaverse gaze, where verse convergence has morphed our existence into a Mobius strip-a confluence of inseparable, borderless realities with doppelgangers and ersatz forms invited inward via the device. I probe this verse through scatter and fracture wielding the anterior language of oil painting-history’s most prolific form of propagandistic artifice. As realities collide to become the metaverse, new meaning forms infiltrate our spaces armed with a lexicon of fragments. The metaverse is a catchall term encapsulating the confluence of our virtual, digital, and physical existences. ![]()
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