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Pattern Recognition

BY Troy Innocent | 16-Mar-2017
For this exhibition, Innocent places agency in the hands of the viewer, challenging the static nature of sculptural forms. Through the use of an augmented reality application, the viewer reveals layers of animation, information and music, coded within the geometric language of Innocent’s works. Innocent applies strategies of pattern recognition to psychogeographic abstractions – spatial maps of cities Innocent has walked, folded in time and space. Recent solo exhibitions see Innocent combine digital innovation, specifically coding, with sculptural forms and geometric abstraction. These exhibitions include Double Abstraction (2016), Five Walls Projects, Melbourne and New Abstraction (2015), Anna Pappas Gallery, Melbourne.
In Pattern Recognition, Troy Innocent interrogates the hidden potential of geometric abstraction, through the visual language of code. Pattern recognition is central to this worldview, as it is coded into the abstractions through which we understand the contemporary world; from digital maps for wayfinding, to visualisations of climate change, or the predication of election results. In this exhibition, Innocent applies strategies of pattern recognition to psychogeographic abstractions – spatial maps of cities Innocent has walked, folded in time and space.

In the 1990s, Innocent represented the vanguard of Australian new media arts as the co-founder of the digital arts collective Cyber Dada. With Cyber Dada, Innocent heralded the cyber world as an ‘enveloping phenomenon, a techno-determinist vision of change’ and presented pioneering collaborative and collective digital works, including the language-oriented, interactive CD-ROM artwork Idea-ON! (1992).

Recent solo exhibitions see Innocent combine digital innovation, specifically coding, with sculptural forms and geometric abstraction. These exhibitions include Double Abstraction (2016), Five Walls Projects, Melbourne and New Abstraction (2015), Anna Pappas Gallery, Melbourne.

Exhibition speaker TBC

Exhibition text by Giles Fielke (PhD candidate, University of Melbourne)