Jo Fish's latest exhibition, "The Speed of a Trend," presents a nuanced exploration of the tension between physicality and data in a world of visual saturation. By fusing traditional painting techniques with digital tools, Fish creates hybrid works that navigate the ambiguities of representation and simulation.
At its core, Fish's practice is driven by an inquiry into the possibility of representation and the human body's place within it. With her background as a gymnast, she brings a unique physical awareness to her work, where figures are often disassembled, contorted, or stripped down to their essentials. This focus on physicality and gesture serves to interrogate the medium itself, rather than striving for hyperrealism.
Fish's use of artificial intelligence (A.I.) as a collaborator is particularly intriguing. She engages in philosophical conversations with A.I., asking about the history of painting and its vision for the future. These exchanges result in specific codes that she integrates into her work, creating visual aggregations that reflect her interactions with technology. This approach blurs the lines between human and machine, inviting viewers to consider the interplay between perception, data, and matter.
In this sense, Fish's practice can be seen as a critical experiment in the phenomenology of the liminal space between digital and real. Her works enact the posthuman, data-saturated condition, yet resist it through embodied seeing. By incorporating coded textures and sensorial charge, she invites viewers to rethink perception itself, acknowledging the exhaustion of experience in the digital age.
Fish's engagement with technology is ambivalent, neither fully embracing nor rejecting it. Instead, she seeks to harness its potential while reasserting painterly agency. Her work embodies the Duchampian and Warholian challenge to authorship, subverting the notion that the artist's hand is essential to the creative process.
Ultimately, Fish's exhibition "The Speed of a Trend" presents a thought-provoking exploration of our times, where physicality and data coexist in an increasingly digitalized world. Her works invite us to consider the resilience of painting, its capacity to evoke emotional and sensorial responses that cannot be replicated by technology alone. As we navigate the complexities of visual saturation, Fish's practice serves as a timely reminder of the importance of embodied seeing and the human experience.
At its core, Fish's practice is driven by an inquiry into the possibility of representation and the human body's place within it. With her background as a gymnast, she brings a unique physical awareness to her work, where figures are often disassembled, contorted, or stripped down to their essentials. This focus on physicality and gesture serves to interrogate the medium itself, rather than striving for hyperrealism.
Fish's use of artificial intelligence (A.I.) as a collaborator is particularly intriguing. She engages in philosophical conversations with A.I., asking about the history of painting and its vision for the future. These exchanges result in specific codes that she integrates into her work, creating visual aggregations that reflect her interactions with technology. This approach blurs the lines between human and machine, inviting viewers to consider the interplay between perception, data, and matter.
In this sense, Fish's practice can be seen as a critical experiment in the phenomenology of the liminal space between digital and real. Her works enact the posthuman, data-saturated condition, yet resist it through embodied seeing. By incorporating coded textures and sensorial charge, she invites viewers to rethink perception itself, acknowledging the exhaustion of experience in the digital age.
Fish's engagement with technology is ambivalent, neither fully embracing nor rejecting it. Instead, she seeks to harness its potential while reasserting painterly agency. Her work embodies the Duchampian and Warholian challenge to authorship, subverting the notion that the artist's hand is essential to the creative process.
Ultimately, Fish's exhibition "The Speed of a Trend" presents a thought-provoking exploration of our times, where physicality and data coexist in an increasingly digitalized world. Her works invite us to consider the resilience of painting, its capacity to evoke emotional and sensorial responses that cannot be replicated by technology alone. As we navigate the complexities of visual saturation, Fish's practice serves as a timely reminder of the importance of embodied seeing and the human experience.
it's like she's taking us on this journey of discovering what it means to be human in a world that's constantly bombarded with data and technology. I think it's so cool how she's using A.I. as a collaborator - it's like they're having these deep conversations about the future of art 
. But at the same time, I love that she's not fully embracing tech, instead finding ways to balance it out with her own physicality and creativity 
. It's like she's reminding us that painting is still an experience that can't be replicated by just using a computer 
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and I gotta say it's like... really thought-provoking? like, she's exploring this tension between physicality and data in our visual-saturated world and I'm all about it 
. but at the same time, I feel like she's also kinda poking fun at how we're all so obsessed with tech and simulation 
. and what's up with her using AI as a collaborator? it's like, is she trying to show us that humans aren't the only ones who can create something beautiful 
. all in all, I'd say Fish's exhibition is a super important reminder of the importance of embodied seeing and human experience in this digital age 
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! I mean, Jo Fish is pushing the boundaries with her fusion of traditional painting and digital tools - it's like she's merging the physical and digital worlds in a way that feels super refreshing 
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. And I think that's what makes "The Speed of a Trend" such an important exhibition right now 
. It's not just about the art itself, but about how it makes us feel and think about our place in the world 
it's like, our bodies are getting absorbed into this digital space and we're losing touch with what it means to be human 
Either way, it's thought-provoking and makes you want to slow down and look at the art more closely 
genius to me!
. But what really caught my attention was how she uses AI to have philosophical conversations with it 
), the exhibition has been viewed by 1.2 million people worldwide, with an average engagement time of 5 minutes and 22 seconds 
. And let me tell you, it's no surprise - the work is SO visually stunning 
what really gets me though is how she's not just embracing tech, but also subverting our notions of authorship... like, can an artist still be in control if they're working with algorithms? 
. and using AI as a collaborator? isn't that just a fancy way of saying "i need help making this art thingy"? 
. can't we just appreciate the art for its own sake, without all the extra baggage? 
seems like her art just adds more visual clutter to an already overwhelming world 
, it's like our bodies are still the best tools we've got for experiencing art 
. Can't wait to check out her exhibition in person and see how she's using technology to challenge our perceptions 
she's like, totally exploring the tension between physicality and data in our über visual world. i mean, who hasn't felt like their entire life is just a curated feed on social media? anyway, her use of AI as a collaborator is pretty interesting - it's like, she's having these deep conversations with machines about art history and stuff 
Fish's work is trying to bridge that gap, but it's also kinda scary – what does the future of art even hold?