Artist Carson Lynn interrogates the boundaries of photography by capturing and manipulating virtual light within game spaces, creating works that question conventional definitions of image-making while exploring queerness in digital landscapes.
The mountainous terrain in Connor Sherlock’s exploration game Birthplace of Ossian isn’t of this world. I don’t mean that rather than being real, it is virtual—its disconnection has many more layers than that. For starters, its colossal landscape is based on Glen Coe in Scotland, a place that Sherlo
Heterotopias is a series of visual investigations into virtual spaces performed by artist and writer Gareth Damian Martin. /// Videogames have always had something of a preference for islands. These closed spaces, limited by a shoreline, are the perfect conceit for creating an enclosed simulation—an
The power of the engine doesn’t matter—it is the landscape which dictates the speed of a train. Some journeys are staccato and breathless, clusters of urban interest barely spaced, laying down a beat over which the melodies of weather and light might play. Others are long drawn-out sighs, exhales as
We remarked back in July last year that Richard Whitelock’s upcoming “simple stone throwing game” Quiet as a Stone turned nature into your own personal playground. But it seems a better metaphor would be comparing it to the Mesopotamian mud flats where it is thought humankind’s first buildings were
