010000010111010001101000011001010110111001100001 (detail), aluminum plates, marker pen, LEDs, Plexiglas, Phuong My's jacket - 2014
010000010111010001101000011001010110111001100001 (detail) - aluminum plates, marker pen, LEDs, Plexiglas, Phuong My's jacket - 2014
010011010110111101110100011011110110101101101111001000000100101101110101011100110110000101101110011000010110011101101001 (detail) - aluminium plates, marker pen - 2014
0100010001100001011010010111001101111001 (detail) - steel, glass ball, sand, Plexiglas, aluminium - 2014
011001010111011001100101 - marker pen - 2014
011001010111011001100101 (detail) - marker pen - 2014
"Daisy, Daisy / Give me your answer, do. /
I'm half crazy / all for the love of you."
(Chorus of the song ‘Daisy Bell’)
‘Daisy Bell’ (Harry Dacre) had become such a popular love song in early 20th century that in 1961 it was chosen the first to be performed by a computer. Another digital version of this romance was sung again by the intelligent HAL 9000 computer during its last generated moments in Stanley Kubrick’s influential sci-‐fi movie ‘2001: A Space Odyssey’ (1968), as if that computer could have felt love like humans. Such intimacy between humans and technology is now celebrated in Sandrine Llouquet’s exhibition ‘DAISY, DAISY – Ode of digits’.
‘DAISY, DAISY – Ode of digits’ is an exhibition that explores the poetry behind the relationship of humans and technology. Sandrine Llouquet’s large-‐scale hand-‐drawn sci-‐fi characters and landscape installation emerge from an aluminum background, and shine with a mysterious red luster. Using motifs of the science-‐fiction genre, such as metallic materials, the red light of a spaceship control center, precise laser-‐cut components and 3-‐D drawn figures Sandrine depicts various persona of her ideal futuristic woman, the one whom both humans and machines fall in love, like ‘Daisy’ in the song ‘Daisy Bell’. Each persona appears as graphic 3 dimensional drawings inside the windows and on the surface of the glass of Phuong My Boutique, resembling the various stages of metamorphosis of the female body, which parallels the cycle of construction and deconstruction in developing technology. This exhibition proposes a magical futuristic landscape where human desire for transformation pushes the limits of technology and Sandrine Llouquet responds with awe of its potential.
The exhibition is the outcome of the third collaboration between visual artists and fashion designer Phuong My. From shared dialogue about ideas of technology, Sandrine Llouquet is inspired by the designer’s attempt to sculpt the female figure with fabric invented in a scientific laboratory. Consequently, two creative practitioners weld together a desire for the most revolutionized idea of beauty for a futuristic human physique.