Maggie Roberts
0rphan Drift at the Telematic Gallery, San Francisco.
EVOLUTION AS THE UNCONTAINABILITY OF CHANGE WHICH IS LOCATED IN THE DESTABILIZATION OF RELATIONS BETWEEN THE CONCRETE AND THE IMAGINED.
MATTER AND IMAGINATION IMPINGING ON BODIES, OTHER WORLDS, INDUCING EFFECTS, SPINNING FORCES.
Maggie Roberts aka Mer. Her art is science fictional, immersive and audio visual. It complicates the distinctions between material and immaterial phenomena and dimensions, both in content and media. The work uses digital formats - video, animation, LIDAR and Photoshop - fused with watercolour, photographic collage, oil paint and sheen mediums. It coalesces out of an often intricate remixing process, onto paper, canvas and video screen.
Maggie Roberts co-created the collaborative artist and hive mind 0rphan Drift in London in 1994. She has participated internationally in two decades of exhibitions, screenings and performance as part of 0D, exhibiting extensively in the UK, Europe, Canada and the States, including at the Cabinet Gallery and Tate Modern; writing the Scifi-theory text Cyberpositive; and featuring in DJ Spooky's Sound Unbound in the Renegade Academics chapter. More recent exhibitions include the solo show Glimmer Breach, IMT Gallery, and Miasma in Alembic II, Res., both in London 2018. She is a Research Fellow with the Visual Cultures department at Goldsmiths College and her recent Symposium there, The Shaping of a Message, will be available on Youtube. She is currently focused on a major new solo show with Aspex Gallery, Portsmouth and an 0rphan Drift collaboration with Ranu Mukherjee, both for 2019.
She lives and works in London (with a studio in Capetown) and makes videos with immersive soundscapes that combine collage layers from concurrent works on paper, recombinant objects and digitally generated imagery with filmed footage. The work has a complex, liminal and baroque aesthetic that proposes a tactile and fluid materiality. This reflects her continuing interest in manifesting invisible currents and currencies affecting the visible: cosmic and geological time scales; ‘Machine Vision’; shamanic animal becomings; evolving communication currents in vibrant matter, themselves become effective frequencies in our habitats and fantasies; futurity impacting on the present and its Hyperobjects, and Climate Change as the violence of excess and luxury. Maggie/Mer is dedicated to evolutionary fever dreams and radical hybridization and is hoping for distributed consciousness sometime soon.
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