Shelby Storey
She/Her
A Fine Artist, specialising in bioplastic production, invested in the psychological exchange between artwork and viewer, finding excitement in the outcomes born from immersive installation.
She/Her
My practice originates from an interest towards individual interpretations within large-scale philosophical concepts such as the sublime. Diving deep in the construction of an abstract environment designed to stimulate and provoke the viewer via the implementation of unidentifiable objects and intuitive compositions, my work consists of an array of 3D, immersive installation, offering individuals an opportunity for self-expression. As a result, it is my practice’s nature to exist without fixed meaning. Utilising sublime’s extensive identity, which offers a strong foundation in the exploration of diverse interpretations, I expose the complexity of human experience.
The utilisation of an ambiguous, organic, artisanal medium designed to warp, distort and challenge an individual’s perception, induced by physical interference, such as, an increase of air bubbles, layers and scratched surfaces, configure an enigmatic, transcendental landscape that dwells on the themes of illusion and deception and the sublime. As a result, when encapsulated in darkness, bioplastic performs as an unidentifiable material. This ability to not recognise one’s surroundings enforces immersion, thus enhancing an individual’s interaction within the environment.
The use of dual-layered projection in which bioplastic’s translucent properties suggest environmental manipulation— small cubicles simulate larger environments as the secondary projection extends into darkness— heighten immersion by signifying a dynamic expansion via a forced-perspective effect. This optical illusion is made increasingly apparent due to bioplastic’s various widths, which operate on the notion of visibility. My practice emphasises this intermediate position, presenting an ambiguous, undefined and symbolic representation of liminal space, using translucency as a device to promote connotations regarding transformation and the in-between, converting not only the environment, but the individual within.
