John Gerrard (born 20 July 1974) is an Irish artist, best known for his sculptures, which typically take the form of digital simulations displayed using real-time computer graphics.
Education Gerrard received a BFA from The Ruskin School of Drawing and Fine Art, Oxford University. During this time he made his first experiments with 3D scanning as a form of sculptural photography. He undertook postgraduate studies at The School of The Art Institute of Chicago and Trinity College, Dublin, and in 2002 was awarded a Pépinières Residency at Ars Electronica, Linz, where he developed his first works in 3D Real-time computer graphics. In June 2009 he began a six-month guest residency at the Rijksakademie van Beeldende Kunsten, Amsterdam. During 2012 he was Legacy Fellow at Magdalen College, Oxford, working on Exercise (Djibouti) 2012, a commission for Modern Art Oxford and the London 2012 Festival.
Works Gerrard's works concern themselves with the nature of contemporary power in the broadest sense, epitomising the structures of power and the networks of energy that characterized the massive expansion and intensification of human endeavour that took place during the twentieth century. Many works have featured geographically isolated industrial facilities that are a hidden part of the global production network that makes the luxuries of contemporary life possible. As Emily Hall wrote in ArtForum:
[Gerrard's] fine balance of concept, content, and material suggest a theme and variations on the theme of the virtual. The computer-generated landscapes bring to mind, of course, virtual worlds, video games, special effects – that is, ways of producing unrealities. Here the format manifests something quite real, albeit at the periphery of most of our worlds – the discomfort of this admission is part of the work's impact – since for many of us, the arrival of food in our markets and the availability of oil are things we take on faith, if we think about them at all. Their existence remains provisional – more or less virtual – whether in life, on a gallery wall, or on a computer chip.Hall 2011
Gerrard's works are constructed as simulations or virtual worlds, using 3D Real-time computer graphics – a technology originally developed for military use, and now used extensively in the videogame industry (he currently uses Unigine 3D engine). Although making use of advanced digital technology, Gerrard's work has been noted for its resistance to being categorised as 'new media art'.Gopnik 2009 Gerrard himself regards realtime 3D as 'a post-cinematic medium in which one can manipulate and interact with time in new ways'.Gerrard and Groom 2011 He has also said that the works constitute a continuing reflection upon his own time: 'these melancholic realms are in some way a road movie of the Twentieth Century, a revisiting of the extraordinary comforts and freedoms that I've experienced.'
The eerie hyperrealism that characterises the medium, and Gerrard's choice of industrial subjects, has led some to compare his work with Charles Sheeler's 'precisionism'.Mackay 2010Smith 2009Baker 2009 Gerrard's interest in minimalism and postminimalism is evident in the physical presence of his installed objects, which are presented either as large-scale projections that often push the boundaries of existing technology, or as compact 'artboxes', designed in collaboration with Inseq, an industrial design firm in Vienna.
Working method The production of Gerrard's works is a highly labor-intensive, collaborative affair, which he has described as 'very similar to making films, in that a group of specialists is assembled under a director to make something ... making these works is beyond the capabilities of any one person.'Wald 2011
Working initially from research documents, texts or striking images in the popular press, Gerrard uses the internet as a research tool, in what he calls 'image wandering'. This subsequently leads to exploratory journeys, during which subjects are often discovered by chance. Once a structure is selected for a 'portrait', the artist takes a comprehensive set of several thousand photographs of surfaces and surroundings. These photographs are used in the studio as textures for a reconstructed, hand-built virtual 3d model of the structure, which in turn is then placed within a 'virtual world' that incorporates the passing of time and other environmental elements.
While they use the same software that is employed for intensively interactive gaming environments, the works offer the viewer no freedom of movement, and generally feature a slow camera path that orbits a silent, isolated scene. In relation to this movement, Gerrard says that his understanding of this medium is 'profoundly orbital. The works stage a world, in which certain set of behaviors have been put in motion. One of them is what I call an orbital camera, a camera that moves, at walking pace, around the scene – the human presence: being there, the witness. And then of course you have the orbit of the year which is linked to the real and which forbids an easy, instant consumption of the scene, because it takes a full year to unfold in full. But then, crucially, this world, this reality, consists of one moment in time. Not an instantaneous moment, but the time during which I documented the scene'
Recent works such as the Exercise series have increasingly featured simulated human figures, produced using Motion Capture, and have experimented with the use of algorithmic components to produce action within the work that is unforeseeable to the artist himself.
Farm (Pryor Creek, Oklahoma) 2015
In early 2014, following denial of access by Google, Gerrard hired a helicopter and produced a detailed photographic survey of one of the key physical sites of the internet—a Google data farm in Oklahoma.Vice: The Creators Project: An Artist and a Helicopter Capture Google's Off-Limits Data Farm This survey was the starting point of the work Farm (Pryor Creek, Oklahoma) 2015. The work features a simulated "twin" of the squat building flanked by diesel generators and powerful cooling towers, as seen from a virtual camera orbiting the facility. As suggested by the title, the architecture of the server farm bears marked resemblance to Gerrard's earlier works depicting livestock facilities, Grow Finish Unit and Sow Farm,Thomas Dane Gallery: John Gerrard: Farm Gerrard states that he wants the work to pose the following questions: "What does the internet look like? What are the material qualities of the network? How is it powered? Do we consume this facility—or does it consume us?"Gerrard, quoted in Holmes 2015
Critical response included:
We don’t question where these things come from, they just appear, but Gerrard wants to confront all of that. He wants to unshroud the mysteries behind our Facebook feeds and push notifications. — Eddy Frankel, Time Out, 20 February 2015Frankel 2015
[T]he effect […] is more painterly than cinematic. It is like a 16th century Dutch still life moving in very slow motion. The effect is mesmerising and disorienting, your understanding of the real and the record and the representation shaken and shifted. – Nick Compton, Wallpaper, 10 February 2015Compton 2015
Solar Reserve (Tonopah, Nevada) 2014
Solar Reserve (Tonopah, Nevada) 2014 features a simulated landscape showing computer-generated images of a solar thermal power plant in Nevada, whose central tower is surrounded by 10,000 mirrors which reflect sunlight onto it to heat salt to high temperatures, forming a thermal battery which is used to generate electricity. Over the course of a 365-day year, the work replicates the movements of the sun, moon, and stars across the sky as they would appear at the Nevada site. The mirrors adjust their positions in real time according to the position of the sun. Over a 24-hour period the virtual camera view of the tower shifts, following the movement of the mirrors, from ground level to an overhead satellite view.
"Solar Reserve" was displayed on an artist-designed frameless LED wall on the Lincoln Center's Josie Robertson Plaza in New York in October–December 2014. Public response was favourable, with many visitors disseminating images of the work via Instagram (public images of "Solar Reserve" at Lincoln Centre).
In June 2015 it was announced that actor Leonardo DiCaprio planned to donate Solar Reserve to the Los Angeles County Museum of Art. It was reported that DiCaprio's donation to LACMA was linked to his advocacy for environmental causes.Burns 2015
Pulp Press (Kistefos) 2013
Pulp Press (Kistefos) 2013 is situated in the grounds of the Kistefos-Museet Sculpture Park, the site of a nineteenth-century paper mill in Jevnaker, an hour north of Oslo, Norway.
Within a projected simulation, the original paper press operates continually, generating 'bales' of data using a physical modelling algorithm devised specially for the work. The bales are stored on hard drives each of which, when it reaches full capacity, is lodged inside the pavilion, thus providing a physical indicator of the accretion of virtual data.Kistefos Museet: Pulp Press (Kistefos) 2013 The simulation is housed in a 100m² poured concrete pavilion designed by the artist in collaboration with Dublin-based architects A2, with technical design and object production handled by Vienna-based Inseq Design.Inseq Design: Pulp Press (Kistefos) 2013
Exercise In a recent series of works under the collective title Exercise Gerrard has addressed what James der Derian has called the "military-industrial-media-entertainment network"Der Derian 2009 – the convergence of media spectacle and military power, both operated through digital simulation technology. The work draws on sources such as the military simulation ARMA and the US army public media site dvidshub.Mackay 2015
Live Fire Exercise Live Fire Exercise, a collaboration with celebrated choreographer Wayne Mcgregor, uses Gerrard's simulation as a projected backdrop to McGregor's dance piece comprising a simulation of a massive explosion, and its subsequent fallout, in the Djibouti desert, which is used for US military training exercises.
Critical response included: John Gerrard's backdrop ... is both alluring and sinister. […] Rarely does a new dancework offer quite so many satisfying interconnections. – Jenny Gilbert, The IndependentGilbert 2011
Although [Gerrard's work] is of an African desert, it makes you think of Afghanistan and Iraq. With the same blank dispassion of a film such as The Hurt Locker it creates an alien landscape in which McGregor's six dancers, in Lucy Carter's half-light, grapple with the choreography of conflict. This sophisticated tapestry of movement is staggeringly beautiful, its pensive, slightly mournful mood engrossing. It is dance for people who like to think as well as feel, both abstract and real. – Sarah Crompton, The TelegraphCrompton 2011
The contrast between Gerrard's film event and Tippett's gentle pastorale is brutal in its irony, but McGregor's neo-balletic vocabulary, with its anguished grapplings and cradlings, unites the two. These are the scorched landscapes on which our privilege is built, these are the people who suffer so that we may not, this is the human body in hyperstress. – Luke Jennings, The ObserverJennings 2011
Infinite Freedom Exercise (Near Abadan, Iran) 2011 In this public commission for Manchester International Festival, a virtual soldier in a simulated landscape executes an algorithmic cycle of gestures. Gerrard worked with a member of Wayne McGregor Random Dance, who was motion-captured moving into a number of postures that Gerrard took from photographs of military exercises on dvidshub. In the virtual world, they are triggered by an algorithm according to a set of rules developed in collaboration with McGregor.
Exercise (Djibouti) 2012