Published on March 7, 2014
Shark Ink on Beast Therapy - Video Art 2013
ARTIST STATEMENT _ My work explores the coexistence of the digital and physical through this subconscious realm – the space that lies somewhere between the real and the imaginary, the space where they interact. In taking the traditional mediums, like painting and drawing, and adding various levels of interactivity and animation to them, I create digital pieces of art that showcase how when art and technology engage, they begin to dance. By maintaining a rough edge to the technology, one can filter through and weave stories in the viewer's mind by creating frantic, hallucinatory visuals of digital affection. Whether electric unease in portraiture or psychedelic mapped interiors, it offers hauntingly seductive environments to lure the viewer in, to have unpredictable interactions with it, and to feel immersed in it. This way, the viewer can see how we are constantly in a process of masking, concealing, advancing, and retreating from the space of the real.
Bio _ Geoffrey Lillemon brings a classic romantic painting and drawing style to technology to reinterpret artistic practice. As one of the leading artists in digital practices, Lillemon has consistently foregrounded the interplay between the digital and physical world in his work, blending the traditional mediums with emerging technologies. This had lead to personal and commercial work which is recognized as contemporary art. Lillemon has exhibited and spoken internationally, giving lectures and exhibitions to global audiences in the digital arts community. He was the Invite d’Honneur at the Centre Pompidou, was a founding member of studio Champagne Valentine, exhibited the net art project Oculart for a decade, designed textiles and animations for Bernhard Willhelm, collaborated with Iris Van Herpen on numerous projects, and was the supported artist for the Adidas Global “Collider” Campaign. Most recently his worked “Like to Death” was introduced into the Boijmans Museum show Dataism.
Faceless - Gif Art 2013 http://geoffreylillemon.com/bernhardwillhelm/ Description: FACELESS is a two-part exhibition exploring a phenomenon present all around us: the fashion of “facelessness” that appeared in the creative arts at the beginning of this century and has remained popular since then. The exhibition reminds us of the impact that media-generated images can have on the creative arts and the ways in which they respond to public images, pop culture, and the mainstream in general.
Like to Death - Net Art www.liketodeath.com 2013 Currently installed at the Boijmans Museum Rotterdam Description: With every ‘like’ the figure of death disintegrates a bit more until nothing is left. By not ‘liking’ the project, on the other hand, you keep the work. It takes 20,000 ‘likes’ to destroy the figure altogether. The project is referencing the end of the curse of social media digital networks that can likewise only be destroyed if a huge number of people give them up.
Sphinx Skins - Photography 2010 Currently showing at the Cat Museum Amsterdam Description: A series of feline fashion portraits which brings together for the first time the unique mind of Europe’s leading cat photographer Geoffrey Lillemon, with the creations of haute cat couturier Sofie Zwerver.
A Mens Underwear Commercial- Video Art, 02:00 min https://vimeo.com/51215704 2012 Node Exhibition Description When looking at Geoffrey Lillemon’s work, we may first think of disgust, voyeurism, infantility or white trash cultural pessimism. However, there’s more going on: by mixing human desires with the coldness of technology rather drastically, he creates the possibility that replicas of human beings might not be ‘uncanny’* any more. It seems that human instincts have to be adjusted to the digital world first. Lillemon uses representations from the recent history of art in order to show where humanness within the digital world might be found in the future. Zombies couldn’t be any less zombie-like than this. * ‘uncanny’ describes the phenomenon that digital human replicas look almost, but not perfectly, like actual human beings.
The Nailpolish Inferno- Virtual Reality Installation 2013 Behind the doors of a 180mb installed $trip Club, an overdose of virtual reality violates the art patrons purity by the tempation of a holographic hell. Interview http://postmatter.com/#/currents/the-nail-polish-inferno/
Waxflatter- Interactive Painting http://www.geoffreylillemon.com/old/waxflatter 2011 An interactive painting with capabilities that change as the song progresses allowing for rotatable display, color changes, particle explosions, warping and video dismantling. Viewers can skip to any one of the 8 edit points in the video to explore different ways to twist and manipulate the dark world of Geoff Lillemon’s art. Play with it carefully as it can get in your head and control your dreams, but fear not and have fluid visions when we drink, sleep, and breathe.
My Lover the Server- Installation/ Mixed Media www.mylovertheserver.com 2011 The exhibition offers an increasingly powerful interaction between viewer and artist , asking: is expressing love through icons, animations, video and .gifs the new bouquet of roses? How are romantic communications intensified and changed via the Internet? These questions will resonate with anyone who uses communication technology in daily life, particularly online social networks like Facebook, Hyves, and Skype, where flirtation has no face and high school obsessions re-emerge from the past. In short, the vast majority of the Net generation will be provoked and stimulated by My Lover the Server.
Rainbow X Apocalypse- Video Tryptic https://vimeo.com/30012100 2011 Rainbow X Apocalypse is a video installation inspired by the 2012 end of the world doomsday prophesy. In the face of this looming dystopia, what do we choose? Absolute death or virtual reality? Rainbow X Apocalypse challenges viewers to explore the possibility of metaverse, an afterlife for avatars, a continually shifting space for our souls to live on for eternity.
Slut Tricks- Video Art Series for Sedition 2013 A series of interactions between the scantilly clad claws of the seductress and the eyeball. http://www.seditionart.com/geoffrey-lillemon/slut-trick-1
Image of Edessa- Net Art www.image-of-edessa.com 2013 It takes the idea of a looping image sequence that has no beginning or end which creates a looping moment in time, a 4d sensory expererience, therefore the idea of a timeless relic allows for worship without the pressure of the hourglass. Avatars are a particularly powerful and personal graphical representation of identity which individuals construct consciously and carefully. As visual representations they are a key determining factor in how people perceive the identity we are promoting. They are the bodies we wear in cyberspace.
s Smokie and Lady Cronus- Video Art, 5:00 min https://vimeo.com/72763172 2013 Lady Cronus seduces Smokie the fish.
The Garden of Lobgina- Net Art http://geoffreylillemon.com/interactive-garden/ 2013
Oculart.com- Net Art, http://www.oculart.com/old/archive/ 2000 Oculart was a 10 year old net art project wich is widely acclaimed for pioneering an immervise online experience, specifically the Net Art Movement. The surreal and painterly interactive animation style transfers the user into a surreal dimension which has no beginning and no end.
EXHIBITIONS _ 2013 “Like to Death” Boijmans Museum “Geoffrey Lillemon x Grace Tang” Carbon Festival, Melbourne, Australia “Geoffrey Lillemon” NODE13, Frankfurt, Germany “Geoffrey Lillemon” Maison des arts de Créteil, France 2012 “Geoffrey Lillemon” Dutch Design Week, Eindhoven, Netherlands “RAINBOW X @ TINAB” Prague, CZ “Fever Beach,” Aphids Atelier, Melborne, Australia “Mor Mor Ingrid,” Click Festival, Helsingor, Denmark EXHIBITIONS 2011 “Game City, Rainbow X Apocolypse,” Digital Triptic Installation, Den Bosch, Netherlands “Define Divine Film Design,” Eindhoven, Netherlands “Rainbow X Apocolypse,” ISEA Istanbul, Turkey 2010 “Ghostgarden Project,” Ars Nova Museum, Finland “Sphinx Skins,” Katten Kabbinet Museum, Amsterdam, Netherlands 2009 “My Lover the Server,” Concrete, Amsterdam, Netherlands 2008 “Ghostgarden Project,” Botanical Gardens, Sydney, Australia 2006 “Oculart,” Servicio-Ejecutivo, New York, United States “Oculart,” Centre Pompidou, Paris, France “Oculart,” Museo Tamayo, Mexico City
TALKS & LECTURES_ 2013 Spring Festival, Graz, Austria (31/5) RMIT, Melbourne, Australia Carbon Festival, Melbourne, Australia CrossLab, Rotterdam, Netherlands FITC , Amsterdam, Netherlands NODE13, Frankfurt, Germany 2012 OFFF, Barcelona, Spain Film Academy, Amsterdam, Netherlands Toca-me Design Conference, Munich, Germany Click — New Media Art Festival, Helsingør, Denmark Resonate: Belgrade New Media Festival, Belgrade, Serbia 2011 Isea (International Symposium of Electronic Arts), Istanbul, Turkey Dazed and Confused Festival, London, United Kingdom Davd, Digital Analogue Festival, Dusseldorf, Germany 2010 Interactive Screen, Banff New media Institute, Banff, Canada Sofia Design Week, Sofia, Bulgaria Playgrounds, Tilburg, Netherlands Creativity Online, London, United Kingdom 2009 Floating Points, Emmerson College, Boston, United States Flash in the Can, Amsterdam, Netherlands OFFF, Lisbon, Portugal 2008 Upgrade!, MAD Gallery, Eindhoven, Netherlands New Media Awards, Gallery of Modern Art, Brisbane, Australia Flash on the Beach, Brighton, United Kingdom 2007 Champagne Valentine, X-media Lab, Singapore FITC Hollywood, United States 2006 Adobe MAX Conference, Singapore Adobe MAX Conference, Seoul Adobe MAX Conference, Taipei FITC Toronto, , Toronto, Canada 2005 Mobile Digital Commons Network Event, Montreal, CA Flash Festival en France, Paris, France Flash Forward NYC, New York, United States Museo Tamayo, Mexico City, Mexico
NETWORK please visit: CHAMPAGNE VALENTINE Co-Founder / CD GEOFFREYLILLEMON.INFO CV ~ GEOFFREYLILLEMON.COM Portfolio
THANK YOU for YOUR TIME
allestimento in cartone per il Cersaie 2014 alberi in cartone scultura in cartone
Quarta turma do workshop de Infografia, ministrado por Beatriz Blanco e Marcos Sin...
Crossmedia bezeichnet die Kommunikation über mehrere inhaltlich, gestalterisch und redaktionell verknüpfte Kanäle, ... („Crossmedia-Storytelling“). ...
Beim transmedia Storytelling wird eine Geschichte über verschiedene Medien bzw. Plattformen erzählt. Dabei wird der jeweilige Vorteil jedes benutzen ...
How cross-media storytelling is about to change the way that we consume and interact with content
creatavist kann noch nicht alles, was man braucht in Sachen Crossmedia-Storytelling, aber er hilft zumindest schon mal beim Zusammenfügen. T.Reintjes ...
Content creators are becoming more immersive in their storytelling thanks to the technology and tools available to them. But having a great story sitting ...
View 111 Cross Media Storytelling posts, presentations, experts, and more. Get the professional knowledge you need on LinkedIn.
Cross-Media Storytelling Why should we write/produce narrative stories ? Journalists as modern day storytellers “Narrative writers can bring meaning to
"Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the ...
Crossmedia Storytelling . Wieder so ein Buzzword - worüber reden wir eigentlich? Wenn Mitarbeiter verschiedener Medien aufeinandertreffen ...