Cultura – from culture. The arts, ideas and social behaviour that arise from a group, as well as the biological conditions suitable for growth
Plasmic – from plasma. The fourth state of matter consisting of many charged particles, or as in blood plasma, a fluid medium that transports cells
Inc. – from incorporation.
What is Cultura-Plasmic Inc.?
A single artist
Creating art that reflects on and critically engages with issues tied into surveillance, digital technology, consumption, social inequalities, communication and relationships, work, health, overuse of natural resources and environmental change and damage.
Using the mediums of sound, installation, sculpture, painting, video, digital tools, online spaces, and collage
Art, and the arts in all of their forms, can be activism, encourage social change, engage people from all walks of life, enable people to feel connected, understood, foster imagination and escapism, bend reality and experiment with predictions and consequences. It’s a necessary and critical part of thinking and processing information, one that enables us to take a step back and reflect on current lifestyles and values and imagine new ways of being. These beliefs are what drives and unites the work of Cultura-Plasmic Inc. in its many mediums.
Kin designs installations that emerge from their environment, often combining contemporary technology (i.e. motion sensors, digital software, tracking devices) with recycled, repurposed and sustainable materials. She incorporates techniques of interaction design to draw people into her work and explore how we use our bodies to navigate a space, partly as an exercise in empowerment. The art may be a fragment of a story wherein the viewer may take part if they choose, signalling the social and environmental consequences of our actions (or inactions) and how our bodies can be used to great effect. Kin’s work is marked by an interest in our treatment of natural resources, understandings and uses of ‘nature’, and how environments can mediate relationships between people.
She has created site-specific pieces for DNweekeND (Doncaster), Chorlton Arts Festival (Greater Manchester), Sound UK (rural touring in Wiltshire, Devon and Cornwall), Reuse Aloud (New Bridge Project, Newcastle), Sand, Sea, Sculpture (Essex), Wandsworth Arts Festival (London), InTransit festival (Kensington and Chelsea, London), Hackney WickED (London), the Poor Door at A-Side B-Side Gallery (London) and Coastival (Scarborough). Her installations are often designed for and presented in unusual, non-traditional art spaces, including disused shop units, playgrounds, green spaces, piers, beaches, and derelict buildings.
In 2016, her cardboard and electronic work Dead Pigeons and Chandeliers featured in a New York gallery exhibit on Politics and Power, and in May 2017, she received the international premiere of her audio-visual installation Watchtower at the European Convention Centre in Luxembourg.
Lila Darkstar navigates the relationship between digital culture and the body, mental and physical health, identity, emotion, existence, and our social interactions through installation, sound and visual art. Working with a multi-disciplinary approach – combining audio, moving image and physical structures – she looks at how our use of and, at times, dependence on digital technology shapes who we are, and how we perceive ourselves and others. Her current focus is on selfie culture, pursuits of happiness and perfection, presentations of the self, and digital addiction and its relationship to health.