Jess Sansum
As an individual, my identity formed through a non-linear, non-traditional trajectory. I moved around a lot as a child and had no lasting connections to place, people or possessions. Although, for some reason, I liked it this way.
Instead of forming identity through traditional constructs, I found myself through fluid comings and goings. Fashion, technology and the internet were an interest for me in this way, providing spaces of comfort and familiarity.
I began professionally perusing these interests in 2013 with a Bachelor of Fashion (Design) (Honours) at RMIT. My practice quickly developed a transdisciplinary approach as I started to challenge the value systems of the fashion object through theory based in arts practice and technology. Motivating the methodology of my practice, these theories lead to the hacking of analogue and digital capture technologies which enabled an exploration of the fashion commodity as a physical and digital entity.
Driven by innate curiosity, I continued into a Master of Arts (Art in Public Space). Digitisation, networking and the internet contextualised as public space had become my latest fixation and intuitive correlations to practices of graffiti revealed a niche: the impact of digitisation and networking on self-expression as a practice of mark-making. Motivated by a vast framework of conflicting theory, I implemented similar methodologies of transitioning between physical and digital space. This resulted in The Public Self project, presented as an artistic series that explores and communicates the theoretical paradoxes of digital public space.
(un)real me, 2020
IGTV video (screen record of Instagram and Snow app)
12:25
Translated, 2019
Large-scale public projection
28:07
@the.digitised.self, 2020
Instagram
Materialised, 2019
Paste up.
420mm x 297mm
Materialised, 2019
Paste up
420mm x 297mm
Translated, 2019
Screen recording of Instagram
28:07
Translated, 2019
Large-scale public projection
28:07
