Róisín Spencer
About
This body of work is an immersive installation encompassing three free-standing, life-sized sheets of acrylic with prismatic rear projections. There are three images of electrosexual spectres, the conjuring of these voltaic phantoms includes the same formula of synthesis as the images in Mutant Exotic. The erotic postcard is fed through the synthesiser onto a CRT TV. The image is churned through the circuit in an erratic fit causing a disseverment of the figure synonymous with spectral sightings. The synthesised distortion occurs at a pace so fast that the figure evolves into contorting beam of white light. The ephemeral choreography of this esoteric dance of decay can only captured in post-production. I meticulously inspect the footage one frame at a time, selecting stills in which the glitch is present. Inspired by Pipilotti Rist’s use of the glitch, my aim is to solicit a defiant vernacular within the arousal of the electrosexual spectres. When considering the cyclical objectification of women bound to developments in technology, I have employed the glitch to accost this history through a purposeful disruption of data.
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Spectral Synthesis is an immersive installation encompassing three free-standing, life-sized sheets of acrylic with prismatic rear projections. There are three images of electrosexual spectres, the conjuring of these voltaic phantoms includes the same formula of synthesis as the images in Mutant Exotic. The erotic postcard is fed through the synthesiser onto a CRT TV. The image is churned through the circuit in an erratic fit causing a disseverment of the figure synonymous with spectral sightings. The synthesised distortion occurs at a pace so fast that the figure evolves into contorting beam of white light. The ephemeral choreography of this esoteric dance of decay can only captured in post-production. I meticulously inspect the footage one frame at a time, selecting stills in which the glitch is present. Inspired by Pipilotti Rist’s use of the glitch, my aim is to solicit a defiant vernacular within the arousal of the electrosexual spectres. When considering the cyclical objectification of women bound to developments in technology, I have employed the glitch to accost this history through a purposeful disruption of data.
Bio
Róisín Spencer’s practice entails circuit-bending synthesisers and screen-printing, creating a cacophony of colours through analogue decay. Working with a colouriser and a noise-enhancer video synthesiser, Róisín employs the seductive and disruptive qualities of analogue synthesis and the glitch in her work. Focalised in Róisín’s practice are the complexities of archival seduction and arousing the erotic ghost. Róisín employs the disruptive glitches and distorted discordance of analogue synthesis in an attempt to liberate the erotic ghost from former objectification and sexualisation.