Artist Statement


When I was nineteen years old (I think) I wrote my first artist statement. More than a decade has passed, but I feel like I'm still that same kid grappling with words; and somewhere in the back of my mind I'm screaming, "This is why I went to art school!" Coincidentally, much of my work, without my full support - I am after all, fragmented - challenges the viewer/user to investigate the relationship between meaning and words, or to juxtapose and categorize both texts (the letter as a form of correspondence) and information (words that are shared for the purpose of informing a social community). Within my portfolio, texts appear in short videos (Models, Nighght, idunno, Save Face), comprise both a manifesto and a solution (DoSomethingMOREamazing.com), reside as the clever name of a website and are housed for discovery within webbases (Delocator.net), are user-generated (Delocator.net and Mail A Virus!), or have been letter-pressed onto a series of paper bags for the purpose of rereading/retelling a story that is historically infamous yet which holds, still, immense currency in today's consumer culture (Paradise Obscura).

Henry Jenkins writes about the effects of media convergence in social and cultural (as opposed to technical) terms. While I refer to myself as a media artist, as Jenkins suggests, I resist thinking about technology without considering the social, and especially, participatory effects it has on media art. It is the participatory culture within the current media landscape, and the conflict between methodologies of new media and old media schemas, that has changed how we think. The current media convergence has changed our logical interpretation of the world to the point that language itself has been altered. The logic of new media (that is, non-linear narratives that might consider holes within the stories as containers for content generated by active participants) is a method for deploying the visual and textual. The thesis, antithesis, and synthesis produced in a language that is always becoming and never fully contained, like an out of control fire, provides endless opportunities for artists to explore meaning and relationships, whether they are formal and visual, or conceptual and tactical.

To talk about an artists' work is to clarify the relationship the theoretical and covert influences that one's socio-cultural surroundings have played upon the studio practice, resulting in an art object, network, event, happening, idea, or, possibly an artfully designed non-object. My portfolio is both influenced by and often a reaction against the global consumer culture in which we live. While some of my projects, most especially my works in video, investigate the nature of subjectivity and personal identity in a culture defined by brands more so than texts or ideas, my tactical, participatory projects (those that take place on the web or utilize a gift economy to disperse ideas in the offline world) provoke the consumer/user to seek alternatives and solutions to a pandemic identity crisis.

xtine Bio

xtine is a media artist who engages viewers via the Internet and new technologies. Recent global projects include Delocator.net, Delocator.MapYourCity.net (with Beatriz Da Costa), DoSomethingMOREamazing.com, and Mail A Virus. Selections of her works have exhibited nationwide, including at The San Francisco Art Institute's Walter and McBean Gallery, The Remote Lounge in New York, The Fifth Annual Digital Salon Show at SVA in NY, The Palm Springs Film Festival; and internationally at Sonar, Barcelona, Spain, and Prog:ME, Rio de Janeiro, Brazil. xtine is currently an Assistant Professor of Visual Communication at California State University, Fullerton.