Natasha D'Aguiar

Website: http://tashadaguiar.blogspot.com/
Bio:

My interests lie in structural art, creating work from the use of complex systems. Art in which follows a regimented procedure in order to represent a chosen field. The use of scientific method also enters the systematised way of working. The creation of a unique system to produce a body of work that cannot ultimately be represented is pertinent in the piece. There is an underlying tension between the rigor of the systematised method and the dissipation in the personal subjective content. There is an inadequacy in the fact that one cannot represent the person in such a way coupled with persistence to continue the investigation. The aim of the project is irrational in this sense, as it can never be conquered however the system provides a logical setting in producing further investigations.
Social interactions are the basis for my work. My practice deals with human behaviour and attempts to emphasise the unconscious body movements in which we cannot control, specifically the movements of the eye during communication. Silent environments were set up where the participant's eye was filmed; I then gathered data from the film by taking the co ordinates from still images of the eye. I aimed to create a system of comparison between the participant's interactions with me through the encounters. I gathered this numerical data from each participant to produce translations. The data is translated into different forms but all represent the same initial social interaction between participant and I. I was influenced by documentaries that intend on representing a person, my aim in my work is to symbolize an aspect of the person through a variation of media.
The translations differ from colour pieces, where the colours have been sort into a code from the number sequence to alphabetical systems, iconic imagery, dance and perfume. Organising a code using a variety of scent created the perfumes that each correspond to a letter from the alphabet. The alphabet was created by a translation from the number arrangement. Each form of translation was created through a coded system, beginning with statistical data.
The body of work is presented, as a collection of forms that may at first seem unrelated but in closer inspection is pertinent to each of the names. To further the suggestion of comparison between each participant I isolate the work in order of each individual. The rigorous investigation does not end with what is presented, the work has been condensed as to not overwhelm the viewer with a mass of information; it is important that the work is not chaotic. A condensed series of work is always offered.
The historical motivations through my body of work is the in depth research of 1960's minimalism. My interest in historical conceptual art is within the production of work rather than the aesthetical outcome, the systematised way of invention is what interests me.