Precious Things

Anabela Pinto

2018 - 2020

City of London, England, United Kingdom

Objects, but more specifically technological objects are vehicles of a presence that exists around and within us, and I started this body of work thinking about how they operate in the domestic space, and what sort of relationships are fostered between human beings and these inanimate (yet so reactive) objects of desire, whose effect is so underpinned in their aesthetic demeanour.

Baudrillard writes how the system of objects is the embodiment of satisfaction and disillusion; how we find in objects an ambition to act as replacements for human relationships. Seemingly appearing to solve a mere practical problem, they subconsciously aim to resolve a social or psychological conflict.

The TV screen automatically becomes central to this exploration. Its ubiquity in the domestic space, its physical characteristics that often resemble a window or portal to another world, and its relationship to the human eye makes it probably the most obvious container or source of this technological ‘presence’ as well as the object whose nature is pronouncedly more human.

The blue light emanating from the screen permeates the scenes and reiterates this presence, harbouring the delights of artificiality, the promise of a more in-tune experience.

Precious Things is an observation of the cult of technology as an extension of the human psyche, where consumer objects appear to channel, reflect, and feed on the emotions of its users.

Steeped in nostalgia, home electronics become the main subjects in open-ended narratives that incite the imagination of the viewer, while speaking of an ever-evolving and ambiguous relationship, the human closeness to technological objects of desire, our precious things.

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