• ‘’Psychologically, entering a cave can have the quality of introversion, incubation, regression to the source, psychic withdrawal or hibernation. The cave can represent a refuge, but also a confined and archaic perspective. A wanderer may be lost or disorientated in the cave, or experience a ‘cave-in’, reflecting how solid containment may give way to crushing self-doubt. Alchemy depicted the cave as a form of the alchemical ‘vas’, and religious lore has seen the cave as a space of conversion and the climax of spiritual quest.”

    (Ami Ronnberg, The Book of Symbols)

  • We treat this space as a cave. In the same way the cave archives our gestures and expressions over time,...

    We treat this space as a cave. In the same way the cave archives our gestures and expressions over time, so does technology. As our lives have become seamlessly integrated with windows, portals and frames we are interested in how digital algorithms and parameters are changing human expression and gesture.

  • Sohyun Han and Bertie Garnett

    Through our perception, we can form meaningful connections from a variety of visual stimuli; pixels and its patterns. Whilst an image on a screen seems flat, the pixels beneath it reveal a depth and complexity alike to patterns and structures found in nature. Digital images can become ancient, indistinguishably physical; they travel between places and can be timeless.


    From dots to dots, we can interpret meanings and symbols in the same way ancient civilisations map their surroundings through clay; an innately natural material derived directly from the earth. We’ve been interested in reappropriating this use of clay; as ancient civilisations explored patterns and symbols by engraving on clay, we attempted to archive digital images we’ve reshaped from physical environments. We utilised green screen material as another tool for modern language inscription; a tool we can use to explore the relationship between tangible and intangible, ancient and modern.