Daniel Rozin
September 12–Oct 19, 2002
DANIEL ROZIN DEBUTS “TRASH MIRROR” AT BITFORMS
SHOW DATES: 9 12 02 – 10 19 02 OPENING RECEPTION: 9 12 02, 6-8PM
Daniel Rozin’s latest exploration of mirrors reveals a more conceptual image. One that is comprised of local refuse. A reflection that truly goes deeper than the skin. Known for the “Wooden Mirror” (1999), a reactive sculpture made up of 830 non-reflective wooden pixels, Daniel has been creating interactive digital art for the past 7 years and found the mirror, as an object and paradigm, his preferred platform of expression.
“Mirrors have the ability to let us observe ourselves in the same manner we observe others, this is in complete contrast to the way we experience our being internally, which is a highly subjective process. In spite of its simplicity, a mirror is a profoundly complex object. It has the ability to display for a multitude of viewers a unique reflection, in effect no two people looking into a mirror will ever see the same image even if they are viewing together. This unique behavior of simple optics is something that even high technology and computers cannot emulate because of its infinite complexity, and yet a polished piece of tin or a charcoal-covered glass can achieve this result easily.”
“Trash Mirror” is made of 500 pieces of trash Daniel collected between February and June 2002 on the streets of New York. Through video input, motors and custom software the trash is orchestrated to reflect whomever stands in front of the piece. From afar the image of the reflected person can be vividly observed and the contents of the trash cannot. From a close proximity, the trash becomes visible and interesting while the image is too course to be comprehended. As the elements have irregular shapes they do not come through as classic “pixels”, instead the sculpture exploits the ability of computation to make sense of non-linear forms.
“Mirrors 2,5,6” are three screen-based installations that involve the viewer in a mirror type interaction. A video input interprets the form and each mirror delivers an expressionist compilation of color, shapes and movement. All three pieces deal with the way digital images and motion are reproduced and perceived.
In “Easel” the viewer uses a small paintbrush in the same manner a painter would. Instead of solid colors the brush applies live video from cameras positioned nearby. Each new stroke of the brush brings a new coat of “current video” to the canvas. The painter can select between a few live video sources by dipping the paintbrush into three paint cans that are mounted on the easel.
Born in Jerusalem and formally trained as an industrial designer Rozin lives and works in New York. He is a professor and the director of research at ITP, Tisch School of the Arts, NYU. His work has been exhibited widely and featured in publications such as The New York Times, Wired, Spectrum and USA Today. His work has earned him numerous awards including Prix Ars Electronica, ID Design Review and the Chrysler Design Award.
