Interdisciplinary artist based in London, UK. A veteran in animation, her 15-year career has spanned commercials, music videos, and stage visuals. Her videos and projects have been featured in Creative Review, Kaltblut Magazine, Hunger and Paper Mag, and she has given a talk titled ‘Art of the Visual’ about her work, which is available online.
Wes’ work explores how emerging technologies are shaping our personal identities and mental states and how the impending metaverse of virtual environments will change how we communicate. She is currently developing immersive art experiences in virtual reality to further explore these themes while continuing to work as a visual artist. She aims for her art to provide crucial commentary on our relation with technology as a whole.
Q: WHAT WAS YOUR ROUTE TO YOUR CURRENT ARTISTIC PRACTICE?
I have always had an interest in animation and digital art over the more traditional art forms and have always had a passion for original characters and world building. But unfortunately this did not translate into a fine art practice until the last few years. The fine art community has always had a strained relationship with digital art and artists and was not taken very seriously as a medium until quite recently. It will be interesting in the coming years to see more digital works in the fine art space.
Q: CAN YOU IDENTIFY ANY ELEMENTS OF YOUR COMMUNITY OR COLLABORATORS THAT HAVE HAD A STRONG INFLUENCE?
I would say the art scene and nightlife in London has played a part in developing my aesthetic over the last few years. London has such a fantastic heritage for artistic clubbing, art happenings and other events that continue to visually inspire. It is always a pleasure to be in such a creative environment.
Q: HOW IS YOUR PROJECT TIED TO THE CIRCA X DAZED CLASS OF 20:21 THEME OF ‘COMMUNION’ ?
‘Anti Communion’ is a piece I developed as a response to my feelings of dread and intrigue surrounding the concept of living most of our lives within virtually constructed worlds, which will no doubt reshape our perception of intimacy. The film centers around a female character wearing a virtual reality headset. We see her in various states of reverie and excitement, but we never get to see what she is seeing. As the subject of the film rotates to face a doppelgänger of herself across a table, she mirrors the position of ‘The Artist is Present’ by Marina Abramovic before she is absorbed into the darkness.
Q: HOW WOULD THE CIRCA PRIZE OF £30,000 IMPACT YOUR FUTURE PRACTICE?
The CIRCA PRIZE would greatly impact my ability to create interactive pieces at the level I am hoping to achieve. It would allow me the ability to create an installation space as well as assistance with development in VR and purchasing the necessary tech to showcase my work.
FOLLOW WES VIZ ON INSTAGRAM