False Equivalences: Mound Suite (Watching; Discerning) (2021)
inkjet prints with offset printed varnish; Robin Smith Peck's work Mound Suite: Watching (D) from the archive of the Society of Northern Alberta Print-artists (SNAP), accession number 1991.003.001
this work was created as part of a residency at the Society of Northern Alberta Print-artists in 2021
inkjet prints with offset printed varnish; Robin Smith Peck's work Mound Suite: Watching (D) from the archive of the Society of Northern Alberta Print-artists (SNAP), accession number 1991.003.001
this work was created as part of a residency at the Society of Northern Alberta Print-artists in 2021
Above: installation views as part of the exhibit "At a Time, Tender and Tense," at SNAP Gallery, 2021
Starting with a screenprint from the archives of the Society of Northern Alberta Print-artists (SNAP), created by SNAP founding member Robin Smith-Peck, images were sourced using Google's 'Search by Image' function; two resulting images were then sequentially subjected to this process, with each new image in turn searched until an end point was reached. At the time of creation, images of the work in question, number four in a series entitled Mound Suite: Watching, and its accompanying series Mound Suite: Discerning, were not available online.
One 'path' interprets Smith-Peck's original print as a pile of snow, and permutes through winter scenery and mountains before ending as a tile sample called 'Blizzard.' The other path interprets the original image as a mountain, with subsequent images honing in on volcanoes in the Kuril Islands, and ends with a street-view image of a man carrying flowers to a graveyard in Sakhalin.
While the work highlights the lack of information which relates literally to the work in question on a platform such as the internet which is regularly understood to be exhaustive, the pathways also resulted in a kind of poetic reperformance of Smith-Peck's original actions: watching and discerning.
One 'path' interprets Smith-Peck's original print as a pile of snow, and permutes through winter scenery and mountains before ending as a tile sample called 'Blizzard.' The other path interprets the original image as a mountain, with subsequent images honing in on volcanoes in the Kuril Islands, and ends with a street-view image of a man carrying flowers to a graveyard in Sakhalin.
While the work highlights the lack of information which relates literally to the work in question on a platform such as the internet which is regularly understood to be exhaustive, the pathways also resulted in a kind of poetic reperformance of Smith-Peck's original actions: watching and discerning.
