Elements of interest:
-Incorporating machinery and mechanical equipment;
-live, autonomous movement as part of installation;
-Drawing from scientific data/imagery
-Using coding systems to determine aesthetic choices and translation
-Overlap between different media (installation / painting)
“By deferring to the machinic, by tuning his antennae towards the ether, by translating sound waves into computer code, Ingram allows that he (and we) are enmeshed within a much larger system. His works demonstrate, in both their mode of making and as finished products, the subtle, irrevocable connections between organic and manmade, technological and human, abstract and animate, visible and invisible, coded and real. He lets things show us something about themselves and reminds us that our minds and bodies are closer to nature and to machines than we might like to imagine.”
Christina Barton, Painting Machines, Bielefeld: Kerber Verlag 2014, p.6.
His works talk about art itself, and processes of making, from a sort of analytical, logical, scientific/engineering angle. To make a machine that paints - isn't this essentially replacing the artist with a robot? Simultaneously, the works seem to talk about scientific processes and technologies from very much an art-world, 'outside-the-box' angle. To be a painter, and to use scientific data to determine decisions and aesthetics via a 'coding' system, and mechanical equipment to execute it. These are two opposing worlds, each addressing one another and working in surprising compatible way.
