“Processing uses methods of digital fabrication to form a composite self-portrait: inkjet prints of webcam stills, wallpaper frozen from captured animated drawings, text videos, and glass panels that interact with light to reveal their fine laser traces. The onscreen windows of my computer--through which I position myself in the world--are echoed on Project Diana's wall.
As an artist performing carefully curated images of my own body online through projects situated on PornHub.com and NewHive.com, the very public platform of the internet is oddly protective, safe and insulated. When experienced online, an image passes through the viewer with a click-through lifespan, then dies. By contrast, the community space of a gallery renders this same material much more vulnerable through its physical proximity, weight and longer lifespan. Processing is an experiment in that tension.”
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ELLIE DICOLA explores gender, embodiment, and processes of rigorous self-identification. Her background in sculpture has developed into a studio practice also encompassing video, performance, experimental poetics and online media formats. On camera, Dicola performs scripted rituals in her studio apartment, articulating dynamics of agency and futility, desire and refusal, and using her body as a site upon which contradictions play out. Perceived dichotomies are manifested through internal states and question the broader socio-political experience of being a woman in contemporary America. Her work has been described as 4th-wave feminist.
The name Project Diana comes from a 1946 NASA mission that projected radio waves into space. These waves broke through the ionosphere, echoed off the moon and then returned to Earth.