Vitória Cribb
[TT]
How was your initiation process in the art world? How did it start?
How was your initiation process in the art world? How did it start?
[VC]
My initiation process was very experimental. In 2015 I started to explore the digital 3D universe and how to represent issues inherent to me and my subconscious. Then, I began developing a 3D language that became the core of my practice but that unfolds in other forms of representation.
My initiation process was very experimental. In 2015 I started to explore the digital 3D universe and how to represent issues inherent to me and my subconscious. Then, I began developing a 3D language that became the core of my practice but that unfolds in other forms of representation.
[TT]
Could you tell us a little more about your three-dimensional virtual creation process? How did it start, and where is it currently? [VC] My virtual creation process was totally experimental. I began to engage more with video and photo editing in college and, between 2015 and 2016, I started to explore the 3D technique in a very personal and technical way. Currently, this three-dimensional and digital process touches both my personal artistic practice and my professional practice as a designer. However, I am constantly evolving, investigating the best ways to apply this technique to my thoughts and formulations.
Could you tell us a little more about your three-dimensional virtual creation process? How did it start, and where is it currently? [VC] My virtual creation process was totally experimental. I began to engage more with video and photo editing in college and, between 2015 and 2016, I started to explore the 3D technique in a very personal and technical way. Currently, this three-dimensional and digital process touches both my personal artistic practice and my professional practice as a designer. However, I am constantly evolving, investigating the best ways to apply this technique to my thoughts and formulations.
Vitória Cribb, [stills] @ilusão - Video, 2020 Triha- OLHO
[TT]
One of the features of your research is the black women's bodies. Could you please explain a little about the development of this subject? And what does the construction of these bodies mean to you? [VC] I believe that the possibility of exploring the conceptual construction of the human image already institutionalized by the mainstream media prompts me to visually represent something that is so close to reality while, at the same time, so far from our physical integrity. It also prompts me to conceptually investigating the social roles of black and female bodies analogically vis-à-vis the technological existences/consciousness explored for the progress in an accelerated and hyper-productive society. As the example of the 2019 video Prompt de Comando (Commando Prompt), where I draw a parallel and question myself about my condition as a black woman or as a robot through an audiovisual poem.
One of the features of your research is the black women's bodies. Could you please explain a little about the development of this subject? And what does the construction of these bodies mean to you? [VC] I believe that the possibility of exploring the conceptual construction of the human image already institutionalized by the mainstream media prompts me to visually represent something that is so close to reality while, at the same time, so far from our physical integrity. It also prompts me to conceptually investigating the social roles of black and female bodies analogically vis-à-vis the technological existences/consciousness explored for the progress in an accelerated and hyper-productive society. As the example of the 2019 video Prompt de Comando (Commando Prompt), where I draw a parallel and question myself about my condition as a black woman or as a robot through an audiovisual poem.
Vitória Cribb, [stills] @ilusão - Video, 2020 Triha- OLHO
[TT]
Much of your work is built through the digital medium - it is not only the support of your research, but it is also where the form and the concept evolve. Could you comment about your relationship with issues intrinsic to media, such as algorithm, code, looping, among others?
Much of your work is built through the digital medium - it is not only the support of your research, but it is also where the form and the concept evolve. Could you comment about your relationship with issues intrinsic to media, such as algorithm, code, looping, among others?
[VC]
In addition to the visual and sensorial digital aesthetics present in my work, I investigate technological and virtual processes directly connected to natural and organic reality. The digitization of processes, communication, relationships, and information is a constant in the way our societies work, and it is already naturalized in our private lives. I investigate precisely this link between what we understand, and still separate, as a cybernetic machine/sphere and natural existence. In the work @ilusão, for example, I treat the algorithm as an engine of socialization. In Prompt de Comando, I make an analogy between the machine/computer hyper-production with the black woman's experience in our society. Whereas, in the 2020 video Anthozoa, I investigate the loop as a feature present in the structure of our social life.
In addition to the visual and sensorial digital aesthetics present in my work, I investigate technological and virtual processes directly connected to natural and organic reality. The digitization of processes, communication, relationships, and information is a constant in the way our societies work, and it is already naturalized in our private lives. I investigate precisely this link between what we understand, and still separate, as a cybernetic machine/sphere and natural existence. In the work @ilusão, for example, I treat the algorithm as an engine of socialization. In Prompt de Comando, I make an analogy between the machine/computer hyper-production with the black woman's experience in our society. Whereas, in the 2020 video Anthozoa, I investigate the loop as a feature present in the structure of our social life.
Vitória Cribb, Prompt de Comando, 2019
[TT]
In your opinion, what is the relationship between this media structuring model and the maintenance of social and racial social cleavages?
In your opinion, what is the relationship between this media structuring model and the maintenance of social and racial social cleavages?
[VC]
It is critical to bring to light that there is a preconceived idea of who and what characterizes creation in the digital environment. But also, that black people are often not seen as potential creators and transformers of a space that is present in the current virtual socialization of the majority of the world's population. If we face technical, financial obstacles and barriers to traditional artistic perspectives, on the one hand. On the other hand, I see virtual artistic creation as a wide range of experimentation that allows the exploration and use of relatively new techniques that do not necessarily fit into an intellectually racist and reductionist rule. It is a two-way street: financial difficulties exist, and racism is also present in the virtual sphere, but I wonder how much we can reformulate the present based on what is being constructed right now.
It is critical to bring to light that there is a preconceived idea of who and what characterizes creation in the digital environment. But also, that black people are often not seen as potential creators and transformers of a space that is present in the current virtual socialization of the majority of the world's population. If we face technical, financial obstacles and barriers to traditional artistic perspectives, on the one hand. On the other hand, I see virtual artistic creation as a wide range of experimentation that allows the exploration and use of relatively new techniques that do not necessarily fit into an intellectually racist and reductionist rule. It is a two-way street: financial difficulties exist, and racism is also present in the virtual sphere, but I wonder how much we can reformulate the present based on what is being constructed right now.
Vitória Cribb, W97M _ MELISSA, 2020. Curadoria de Felipe Barsuglia e Yan Coppeli
[TT]
In a conversation, you commented about a letter you wrote to the algorithm, which is part of @ilusão, developed on OLHÃO's online residence. Could you explore a bit more about this letter and how it fits into the work?
In a conversation, you commented about a letter you wrote to the algorithm, which is part of @ilusão, developed on OLHÃO's online residence. Could you explore a bit more about this letter and how it fits into the work?
[VC]
This letter arose after the magazine O Turvo invited me to publish in its second edition, which the main theme was the Connection Regimes. While elaborating my collaboration, the algorithm pointed me to the music Technologic, by Daft Punk, on a streaming platform. From there, I started to reflect on our relationship and shared intimacy with the algorithm, the one that knows us so well that it redirects us to supposedly better options based on the digital data collection of our tastes, recent searches, and virtual access. In the letter, I talk about imperatives that concern the human being's bodily, organic, and natural products concerning repetitive technology. The letter is also part of both @ilusão and the work Ouço ruídos nesse grande mar difuso inundado por imperativos invisíveis (I hear noises in this great diffuse sea flooded by invisible imperatives). In the former, the letter appears as the texture of a great ocean of imperatives as it travels through the main character's body. In the latter, the text is the sculpture of this ocean of imperatives. Applying elements of one work/moment over the other and re-signifying the context says as much about the digital technique as about the modus-operandi of our virtual connection.
This letter arose after the magazine O Turvo invited me to publish in its second edition, which the main theme was the Connection Regimes. While elaborating my collaboration, the algorithm pointed me to the music Technologic, by Daft Punk, on a streaming platform. From there, I started to reflect on our relationship and shared intimacy with the algorithm, the one that knows us so well that it redirects us to supposedly better options based on the digital data collection of our tastes, recent searches, and virtual access. In the letter, I talk about imperatives that concern the human being's bodily, organic, and natural products concerning repetitive technology. The letter is also part of both @ilusão and the work Ouço ruídos nesse grande mar difuso inundado por imperativos invisíveis (I hear noises in this great diffuse sea flooded by invisible imperatives). In the former, the letter appears as the texture of a great ocean of imperatives as it travels through the main character's body. In the latter, the text is the sculpture of this ocean of imperatives. Applying elements of one work/moment over the other and re-signifying the context says as much about the digital technique as about the modus-operandi of our virtual connection.
Vitória Cribb, [still] @ilusão – Video, 2020 Triha- OLHO
[TT]
Your work also materializes outside the virtual environment; how do you see this materialization in another medium? Is there a bridge between the digital and the non-digital?
Your work also materializes outside the virtual environment; how do you see this materialization in another medium? Is there a bridge between the digital and the non-digital?
[VC]
I believe both dimensions are artistically and socially correlated. Investigating the encounter of both environments conceptually and visually is explaining what we already do socially through digital networks, for example. Digital and non-digital encounters in almost all spheres are present in our lives.
I believe both dimensions are artistically and socially correlated. Investigating the encounter of both environments conceptually and visually is explaining what we already do socially through digital networks, for example. Digital and non-digital encounters in almost all spheres are present in our lives.
Instalação desenvolvida no programa de Residência Futuros Possíveis com Direção Artística e curadoria de Gabriela Maciel e co-curadoria de Yasmine Ostendorf. EV Largo – Rio de Janeiro (maio – julho de 2020)
[TT]
Could you tell us a bit about your future projects? Where do you intend to direct your work?
Could you tell us a bit about your future projects? Where do you intend to direct your work?
[VC]
The last months of 2020 were very intense in terms of conceptualization, experimentation, and exchange with curators about my artistic production. I intend to continue my investigations and project formulations within spheres that allow me to develop and present my artistic expression in a true way. The physical and virtual artistic installation has been a key element in my work in recent years. And I intend to develop and better structure some installation/physical projects that permeate my mind soon without abandoning the core of my production—which is digital—but incorporating this element in other formats.
The last months of 2020 were very intense in terms of conceptualization, experimentation, and exchange with curators about my artistic production. I intend to continue my investigations and project formulations within spheres that allow me to develop and present my artistic expression in a true way. The physical and virtual artistic installation has been a key element in my work in recent years. And I intend to develop and better structure some installation/physical projects that permeate my mind soon without abandoning the core of my production—which is digital—but incorporating this element in other formats.
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