Rendering by the Water

Curator’s choice

Rendering by the Water is a selection of female-identifying and non-binary perspectives on inhabiting reality and dreams, between the natural, the inner, the domestic, the outer, and the imaginary worlds.

We recognize images as they shape shift, formless; textures vibrate, glow, transform, in a time-based exploration of identity and subjectivity that is fluid and true to the principles of their own queerness, and therefore merging with facts and reality in a diffractive way. They materialize dream-like realms and “out of this world” perspectives on seemingly mundane, ordinary things and notions of space or natural order. And they do that not as immaterial mirages or illusions, rather, they contribute to the forming of a new consciousness, beyond our limited perceptions, beyond what is presently imaginable. Audre Lorde said it’s through dreams that revelations, that new meaning and knowledge might infiltrate and inform existing structures to organize and function differently, in an act of taking up space that occurs outside the dominant methods and means.

Almost like psychological spaces, maybe self-portraits, these works are rendered as fastical forms to stretch our imagination and provide access to visions and alternative knowledge that might be capable of contributing to world-making and meaningful transformations in the material world.

LaTurbo Avedon

Rendering by the Water

Traveling through the hidden nooks, paths, and passages of the metaverse; appreciating the slower joys of the digital space.

LaTurbo Avedon is an avatar and artist, creating work that emphasizes the practice of non-physical identity and authorship. Avedon has spent the past decade developing a body of work that illuminates the ever-growing intensity between users and the virtual, pursuing creative environments that deepen the meaning of immaterial experiences. They curate and design Panther Modern, a file-based exhibition space that encourages artists to create site-specific installations for the internet. LaTurbo’s process of character creation continues through gaming, performance and exhibitions. Their work has appeared internationally, including at MAK – Museum of Applied Arts (Vienna), Manchester International Festival (UK), Transmediale (Berlin), Haus der elektronischen Künste (Basel), HMVK (Dortmund), Barbican Center (London), TRANSFER Gallery (New York), Galeries Lafayette (Paris), and The Whitney Museum (New York).

Joaquina Salgado

Fin de fiesta
Fin de fiesta by Joaquina Salgado

The absolute of reflection. The reflection is more real than the real because it is pure.

Daydreaming and mental flies.

A media artist and VJ from La Plata, Argentina, Joaquina Salgado combines emerging technologies to create otherworldly and abstract images, XR experiences, interactive virtual worlds, and AV performances. Her explorations between the physical and oniric worlds converge in the creation of synthetic environments using real-time technologies, digital sculpting, and photogrammetry. Her work reflects on internal programming and the relationship we generate with machines as an interactive mirror.

Kakia Konstantinaki

Unmelted Places

Kakia is an artist and a multidisciplinary designer. She is an architecture graduate from the Technical University of Crete and an MA Communication design graduate (Distinction), from Central Saint Martins. Kakia has worked as a 3D artist, art director, and graphic designer on personal and commissioned projects within the culture and music industry. She has also worked as a part-time teaching assistant on the MA Communication Design at Central Saint Martins. One of her most distinguished projects, Hyper-Opera, which explores feminine narratives in relation to performance art and the internet, was exhibited at the London Design Festival and featured in various publications, such as VICE’s “Creators.” Currently, Kakia is working on her personal artistic project,Daydreaming Project, examining the process of making in the digital realm by using 3D rendering to insert futuristic and impossible architectural forms into cityscapes. Kakia lives in London.

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Signe Pierce


Signe Pierce’s practice encompasses performance, video, photography, writing, and digital installations. She aligns and identifies with the notion of being a “Reality Artist,” a term Pierce acknowledges is at once enigmatic and paradoxical by nature, melding two highly subjective and contested concepts (reality and art). Pierce uses her body, the camera, and her surroundings to produce films, performances, photographs, and web-based works with a singularly flashy, neon, “Instagram” aesthetic. Through her work, she posits questions regarding gender, identity, sexuality, and reality within an increasingly digital world.

Claudia Hart

The Green Window

Claudia Hart is part of a generation of 1990s intermedia artists examining issues of identity and representation. Since the late 1990s, when she began working with 3D animation, Hart has embraced these same concepts, but now focuses on the impact of computing and simulation technologies. Hart’s work has been collected by The Whitney Museum of American Art, MoMA, and the Metropolitan Museum of Art in New York, National Gallery, Berlin, the Albertina Museum, Vienna, and the Lot 555 Collection.

Ada Sokol

Ultimate Ave

Daggers have been used throughout human history for close combat confrontations, and in many cultures were used in ritual and ceremonial contexts. In old Buddhist writings, the spider lily is said to guide the dead through samsara, the cycle of rebirth, thus spider lilies symbolize death and reincarnation. The sound, a monk's chant delivered from a Buddhist temple, gently enhances the animation's meaning.

The works of Ada Sokół allow viewers to glance into the world of extraordinary imagination and offer a glimpse into her perspective on the beauty surrounding us. Subtlety, femininity, magic—these keywords are the most accurate way to describe her aesthetic. The visuals she designs are an ultra-sensory experience based on oniric scenery resembling visions of the far future. The main inspirations for her renders are creatures and phenomena from the surrounding environment:water bears, sea dragons, orchids or fungi. As an independent entity, Ada Sokół quickly embodied a solid, self-made 3D brand. During her years in Paris and London, the unique style of her works developed during collaborations with Nike, Apple, Louis Vuitton, Valentino, Rimowa, and Gentle Monster on global campaigns, videos, and multimedia installations. Recently, she has made an appearance at multiple exhibitions (Miami Art Basel, Dubai Expo) and debuted as an academic lecturer at ECAL(Lausanne). Her works have been exhibited worldwide, from Beijing, New York, and Los Angeles to London and Paris.

Sarah Meyohas

Genesis 4
Genesis 4 by Sarah Meyohas

Bitchcoin: Genesis images are Sarah Meyohas's fine art documentation of the original Bitchcoin mine at Where, a gallery in Brooklyn, New York, in February of 2015. Meyohas transformed Where into a cryptocurrency mine, viewable through a live-streamed webcam. Coin buyers received a certificate with key number encryption allowing them access to the BitchCoin software program. Through this custom platform, currency could be sent and received.

"Our operations test the assertion that art manifests the same patterns, behaviors, and properties present in all complex informational systems. Acknowledging the powers and perils of systems-based thinking, we suspect that the mechanisms identified as producing growth and complexity in large-scale systems may be directly applicable to the field of artistic production. We use the exhibition format as a site for researching these mechanisms." – Where

Where is a gallery and on-demand publishing project headquartered in a 40-foot shipping container in Brooklyn, New York. Where is produced by the writer Lucy Hunter and the artist R. Lyon.

Sarah Meyohas is a conceptual artist whose practice considers the nature and capabilities of emerging technologies in contemporary society. Using the familiar emblems of biological life, Meyohas investigates the complex operations that increasingly govern our world: soaring birds, created using augmented-reality software, flock in unison with the frenetic variations of the stock market; rose petals, aggregately identical but individually unique, comprise the dataset for their AI-created equivalents; Bitchcoin, a cryptocurrency backed by physical artworks, questions the speculative value of cryptocurrency and the ineffable value of art. Meyohas creates an intelligible visual language to articulate the systems and technologies that increasingly influence our world.

Sian Fan

Spore 1

As a reflection on our increasingly digitized and hyperconnected world, Spore 1 is a digital experiment inspired by video-game alchemy and the healing properties of nature and botanics. It uses computer-generated textures, produced by photogrammetric scans of plants and flowers, to offer a mediative remedy for our ever-increasing screen time. The looping video grows in an organic yet algorithmic way, showing that the world works best when the natural and digital coexist harmoniously.

Sian Fan is an interdisciplinary artist based in London. Her work combines movement, the body, and technology to explore embodiment, spirituality, and human experience in the digital age.

Elnaz Mansouri

Persian Jungle House
Persian Jungle House by Elnaz Mansouri

The scent of brewing tea mixed with humid air

Crackling sound of wood chunks in the fireplace

The rain stops, then starts again

Pink roses are wet with raindrops

Welcome to the Persian Jungle House

Elnaz Mansouri (b.1991, Iran) is a multimedia artist practicing in the fields of photography, 3D art, AR, and VR. She received her BFA in 2013 at OCAD University, Toronto, and completed her MFA at the Iceland University of the Arts in 2022. Elnaz focuses on abstracting and re-imagining environments and spaces while experimenting with conceptual ideas inspired by Magical Realism.

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