Carri Munden, fashion designer, on a still from Takeshi Murata’s Monster Movie.
GB Tell me why you chose this film still.
CM I love monsters! The movements of the monster are crucial to the video piece and without the hairy dude’s appearance and reappearance it would be pure abstraction – but I chose this film still because I truly think it’s the most beautiful visual I have ever seen. I love the way digital corrupts, the colours and textures it creates – and the way the image melts and repeats into infinite trails and patterns. Takeshi Murata has used this to full hypnotic impact here.
GB When did you first see datamoshing? Do you know much about the technical side of it?
CM I know the theory of datamosh but I’ve never actually done it myself. I’m friends with Paul B Davis of Beige, who first used the word datamoshing. I love his Rihanna / Zombie mash up. Paul was also my introduction to circuit bending. I’m interested in subverting technology and with my first collections Tom Manaton and I were trying to corrupt Photoshop files in a similar way to produce abstract digital prints. Even though Paul was the first to use the term datamoshing but I think Takeshi Murata had already been experimenting with the same technique.
I finally used it for my SS10 Cassette Playa show visuals collaborating with video artist Weirdcore. I am so proud of that video piece and could watch it for hours. But no one does it like Takeshi!
GB Takeshi is really keen that the human hand can be seen in his work, in spite of it being digital. Do you think this adds to its beauty?
CM Yes, that’s what gives it emotion – although maybe one day great art will be made by robots! #turing_test
GB I love that he taught himself to do this via the internet and he also shares his own techniques online. And because it’s digital the work is freely available. Is this part of its appeal?
CM I did first discover Takeshi’s work on the internet but in all honesty I would prefer to see it IRL as that would be more immersive. I believe in the potential of the internet as a way for a new generation of artists to share their work – and I’m interested in the way our generation uses and samples from the internet as both inspiration and a skill base. And now I’m also interested in how this will translate to a conventional gallery / 3D space. If you’re interested, look at – AIDS 3D / Oliver Laric / Matthew Johnstone / Rafael Rosendale / Jon Rafman / Katja Novitskova.
For me the greatest artists of the last ten and the next ten years are hackers and coders. I wish I could make and break code. For the next generation of digital natives this will be where real creativity will be challenged.
I was actually watching Transformers 3 the other day on a massive HD flat screen (I originally saw it at the IMAX) and I genuinely found myself thinking, forget all the galleries I’d visited around the world – this was the greatest art I’d seen all year. CGI is so absolutely beautiful, especially when it includes explosions and splintering shards of metal.
GB What makes something worthy of the word Beauty to you?
CM An honesty – even if the beauty is unintentional / from somewhere unexpected. I can only believe in something if the maker truly believes in something – this could be a film, a painting, a physical movement – I guess you could also call it passion. I deliberately chose something that was digital as I believe that to think of beauty or luxury as only physical is out dated. I like the idea of real value being placed on virtual objects and experiences.