Four water bowls reflect different aspects of water related to the collective, global human condition.
Metaphorical associations of water—such as the reflection of the moon, a drop of water, the sound of water, and oil and water—are revisited through the use of some of the latest scientific observations.
Moon and Sound are locally interactive and Drop and Oil are interactive both locally and remotely. In Moon, visitors are invited to touch the water; the sounds created by their interaction are picked up by an underwater microphone and amplified.
An animation of water molecules cycling from a heavily polluted state to clearing and back is projected onto the water.In Sound, visitors’ touch generates a disturbance and allows them to feel the vibration of sounds based on underwater pollution (such as sonar frequencies, explosions and submarines), as well as whale sounds and cell vibrations.
In Drop, a drop of water released into the bowl breaks the surface and triggers images derived from maps of water bodies that ripple away. At the project’s website, visitors can remotely release this water drop from a dispenser suspended above the bowl in the exhibition space.
Upon entering the website, visitors are asked to identify themselves with a body of water, such as the Nile, Ganges, Danube, Pacific, Atlantic Ocean, the Mediterranean Sea or any other water body of their choice. The online interface then pulls up a topographical map of the chosen location. The location of participants is mapped by tracking the IP (Internet Protocol) address of their computer and pairing it on the map with the body of water with which they identify. They can then add a water drop to the bowl. The topographical map and the visitor’s position on it are also projected onto the bowl in the exhibition space.
The Oil bowl contains both water and oil, which appear as clearly separated substances. At the project website, visitors can make a wish (by typing it in) and remotely release a copper coin into the bowl from the dispenser above it. The wish is projected onto the oil and visible on the wall behind the bowl as a visualization of dissolving particles.
Victoria Vesna is a media artist, professor and Director of the recently established UCLA Art|Sci Center and the UC Digital Arts Research Network. Her work can be defined as experimental creative research that resides between disciplines and technologies. She explores how communication technologies affect collective behaviour and how perceptions of identity shift in relation to scientific innovation.
For the past five years she has been collaborating with nano-scientist James Gimzewski on works that make the invisible visible and bridge the two worlds. She brings art to science students and science to art students through her creative approach to education.
Her most recent works are focused on environmental issues showing the relationship of water pollution and collective consciousness. Her work is exhibited internationally including major venues in Los Angeles, New York, Seoul, Beijing, Shanghai, Perth, Berlin, Rome, and Barcelona. Notable works of the past decade are Bodies INCorporated, Datamining Bodies, n0time, Cellular Trans_Actions, Mood Swings, Nanomandala and Zerowave.
To date Victoria has exhibited her work in 18 solo exhibitions, over 80 group shows, published over 20 papers and given over 100 invited talks. She is recipient of many grants, commissions and awards, including the Oscar Signorini award for best net artwork (1998), and the Cine Golden Eagle for best scientific documentary (1986). She is the North American editor of AI & Society and editor of Database Aesthetics (Minnesota Press, 2007).
