Mia van den Bos, AI Schmidt, 2016, digital painting on plastic, 45 x 120 cm.
Mia van den Bos, AI Page, 2016, digital painting on plastic, 45 x 120 cm.
Mia van den Bos, Visionary and entrepreneurial, 2016, diamond cut acrylic, cast resin, timber, white house paint, decorative stones, plastic bag, jelly air freshener pellets, storage basket, lamp.
Mia van den Bos and Ashleigh D’Antonio
Fontanelle Gallery, Adelaide
Mia Van den Bos’ current body of work investigates whether learning how to computer program is an effective tool to utilise creativity to empower oneself to subvert and critique patterns of surveillance, ownership and exploitation on the internet. Video, installation and digital paintings navigating net hegemonies exist alongside paintings created with pure code on open-source software. Ashleigh D’Antonio’s practice is concerned with the gaze and ways of seeing in relation to video art and film, as constructed under a patriarchal framework. Her work aims to create an awareness in the spectator and to confront and challenge inherent responses to alluring imagery.
The use of sight and the power dynamic between who sees and who is seen emerges strongly in both current bodies of work, with D’Antonio focusing on the gendered Gaze, while Van den Bos explores issues surrounding Panoptic internet surveillance. The emphasis on deconstruction and disruption of hierarchical power structures creates an immersive collaborative dichotomy.
Alterior Motive- Mia van den Bos & Ashleigh D’Antonio, Fine Print Journal
Flash, Plush and Pulse: a review of ‘alterior motive’, Collage Adelaide
Alterior Motive listed as a key exhibition to see in Adelaide, NAVA website