Tony Oursler is aware of media technology's power to fascinate and absorb its viewers. In his multi-media installations he therefore uses simple, low-tech equipment such as old TV monitors, projectors and surveillance cameras, along with found object props, to prevent the viewer from being seduced by 'the state of the art' of new technology.
Yet despite their relatively simple construction, the artist's installations have much in common with conceptual art, where form follows content, Oursler's strange animated 'puppets' are complex in their allusion.
Exploring social confusion and psychological discomfort, these distressed figures represent a semi-psychotic universe in which the extreme and the abnormal dominate: violence, aggression, despair, are familiar elements in all of Oursler's installations, sculptures, performances and video works.
Initiated by Manchester City Art Galleries.
Works kindly loaned by the Saatchi Collection, London.
[LESS]Tony Oursler is aware of media technology's power to fascinate and absorb its viewers. In his multi-media installations he therefore uses simple, low-tech equipment such as old TV monitors, projectors and surveillance cameras, along with found object props, to prevent the viewer from being seduced by 'the state of the art' of new technology.
Yet despite their relatively simple construction, the artist's installations have much in common with conceptual art, where form follows content, Oursler's strange animated 'puppets' are complex in their allusion.
Exploring social confusion and psychological discomfort, these distressed figures represent a semi-psychotic universe in which the extreme and the abnormal dominate: violence, aggression, despair, are familiar elements in all of Oursler's installations, sculptures, performances and video works.
Initiated by Manchester City Art Galleries.
Works kindly loaned by the Saatchi Collection, London.
