Martine Stig

Martine Stig

Technological progress extends our senses and turns our x-y-z world into a 360˚ space. Since we can virtually look from every high vantage point -with the help of drones and satellites- linear perspective and monocular rendition start to lose their universal self-evidence.

Martine Stig

2020

In this research I focus on the changes the photographic image has undergone in the transition from analog to digital. In fact, the photographic image has become bilingual; it is both image and data and can be read by man and machine.

Martine Stig

2021

In "The Reflection of the Man" —a video essay—, I grapple the meaning of Human in a hybrid world. Deploying and reflecting on ubiquitous technologies like face recognition software, I explore the act of seeing, beyond the explorative and embodied act.

Martine Stig

2020

WeAlgo is a new way of meeting online, a playground where you create your - fluid - identity. WeAlgo uses facial recognition algorithms to protect our screen privacy, instead of violating it. It lets you move freely through a truly shared space. A ball masqué, anonymous yet truly there.

Martine Stig

2020

When celluloid was replaced by sensors twenty years ago, the photographic image became bilingual. The digital image, now being shot, shown, stored and shared by one device, lives up to (and beyond) expectations of analogue mnemonic technologies.

Martine Stig

Through a Glass Darkly  (2020, black&white print, framed, screenprint on artglass) is a series of portraits of young girls. Black & white photography combined with coloured stripes and dots -the graphic language used in image recognition technology, grammar of machine vision.

Martine Stig

2017

Study for Profiles (2017) Profiles is a study of the human facial profile, with its characteristic shape that leans on a gaze or camera at eye-level. The human depicted from the human perspective; anthropocentrism at its best.

Martine Stig

2017

In Vertigo I investigate the influence of technological progress on the photographic image. Drones and satellites extend our senses, mobile mapping increases our viewing space. "Eye level" gives way to "machine vision" (or does a hybrid form arise?).

Martine Stig

2017

Planar, a black & white film, shot from a balcony in Genua, scans the surface of the city. Playing with connotations of surveillance drones and ‘Film Noir’ the long lens seems to act on human presence but follows nobody. 

Martine Stig

2018

Walking in the City, HD, 11:42, 2018, with a text by Basje Boer. A short science fiction movie showing the city of Sao Paulo through a vertical stereoscope, uncovering different notions of perception and power.

Martine Stig

2019

The Photo Object is a visual experiment in which I take pinhole photos and then pass them through the face detection and image recognition software. 

Martine Stig

2019

Sync, 2019 Holiday photos in a rural setting, synchronously photographed from eye level and from the sky. The images, double projections, indicate the presence of the "eye in the sky".

Martine Stig Elodie Hiryczuk Sjoerd van Oevelen Frank van der Stok Hans Gremmen

2017

On the occasion of our launch we will issue a printed manifesto, designed by Hans Gremmen along with the first RR special editions of work by Hiryczuk/ Van Oevelen, Martine Stig, Stephan Keppel and El Lissitzky. Interview by Daria Tuminas.

Martine Stig

2017 – 2018

Profiles is a study of the human facial profile, with its characteristic shape that leans on a gaze or camera at eye-level. The human depicted from the human perspective; anthropocentrism at its best.