Here are some examples of Public Art with New Media Triangulation
Eileen Botsford
http://www.eileenbotsford.com/
is a New Media Public Artist and the Founder and Creative Director of EBnefsi Design www.ebnefsi.com, a New Media Public Art Collaborative based in London and Athens and working internationally.
THE BODYMODE SHOW – EILEEN BOTSFORD
http://www.bodymode.co.uk/
As public art is targeted towards creating experiences rather than attachments, the simplicity of the works manages to create an effect, which, although weak in intensity, is strong in delivering its objective. The viewer is called to review and re-evaluate one’s image through the depiction of the ‘real’ and the ‘common’ rather than the ‘idealised beautiful.
BEAUTIFUL DECAY – EILEEN BOTSFORD
http://www.ebnefsi.com/beautiful-decay.html
Beautiful Decay showcases a broad range of artists representing a cross section of young and established practitioners as a group of individuals diversely communicating similar ideals, notions of the sublime, pathos, decay and resurrection in their respective aesthetic approaches.
Beautiful Decay surveys elements of film, video, installation and photography in works by Daniel Askill, Eileen Botsford, Stephanie Bray, Danny Ford, Matt Glenn and SCA lecturers Simone Doulas and Tanya Peterson in an exhibition seeking to question the sense of NOW, and the small trivialities in-between.
The conundrum is not in preserving the perishable, but in finding eternity in the finite, an entropic cycle where abrupt endings and new beginnings are perhaps one and the same. To suggest that God is in the details is to suggest beauty in the loose thread, the disruptive mark, or the scar from a childhood skirmish becoming character to the adult face; a signpost of adventure, untamed moments and broken hearts, but with an assurance of future romance and fleeting moments. Again and again and again…
GAMELAN PLAYTIME
http://www.we-make-money-not-art.com/
Gamelan Playtime, took time to study how people moved in the space and understood that everyone was in a hurry with no time to stop. They made it a priority for people to only have to stroke the wall while passing by for the interaction to work. However, when the installation was up, they realised people were stopping to pull and twist the buffers and were spending a lot of time discovering the different instruments and creating their own piece. They were seeking much more engagement than what we had anticipated.
