Reflecting on the “Human Error” Exhibition: A Convergence of Art and Apophenia
I recently had the honour of participating in the “Human Error” exhibition at Pomp Gallery, which featured the innovative works of seven artists, each exploring different mediums and disciplines. The exhibition, inspired by the concept of Apophenia—the tendency to perceive meaningful connections between unrelated things—offered a profound look into how we interpret data and reality.
My contribution, a piece titled “N95,” utilized projection mapping to cast the image of an N95 mask as a haunting presence. Initially inspired by Bangkok’s PM2.5 pollution crisis, the artwork unexpectedly also mirrored the burgeoning Covid-19 pandemic, adding a layer of unintended relevance that underscored the exhibition’s theme.
Joining me were artists like Cedric Arnold, who presented augmented images from his photographic memory bank, and Nana Boonorm, whose work delved into AI-generated imagery. Gabriel Camelin’s installation played with notions of digital authenticity, while Jesper Haynes offered a heartfelt multimedia tribute to a friend. Jeff Gompertz‘s video work critiqued surveillance politics through AR technology, and Agustin Abreu, alongside Ignacio Platas, explored AI and GAN puppeteering.
“Human Error” showcased artistic talent and reflected on the errors and unintended truths that emerge when art meets technology.
