Reviews & Interviews

“Krauth’s works explore the interweaving narratives of scientific data… [she] is an expert at using technology to engage the community.”

“These intriguing holographic vessels… [conjure] up an imagined ‘weather lab’, where different types of weather can be grown. Her interest in this area springing from the vital role that the climate plays in our lives and the unease around the science of weather modification such as cloud seeding”

“Both artists and scientists need to have strong imaginations in order to be great in their field… Every artist needs to be a little bit of a scientist in order to spur their curiosity for the world, and every scientist needs to be a little bit of an artist in order to be innovative. Creativity is what makes innovation, and thus creativity directly influences technology – both in its creation and in its use.”

“The audience’s response to this work was overwhelming; people stopped, sat, and even lay down to experience the sense of wonder created by the animation. With the complexity both of this works technical execution and the environmental message obscured, Krauth explored the use of projection, interaction and animation to physically connect the audience to the works elements. Krauth’s art practice continues to provide a subtle but significant reminder of the importance of science and technology and the key role it has to play in conservation.”

If the forest wanders, 2016 offers a moment of digital connection, reminding us of the fragility and beauty of the natural world and the encroachment of urbanization into numerous habitats.”

“Alinta Krauth is perhaps one of the most important women to come out of Art and Queensland at the moment, because of the way her art explores and conveys scientific data through digital installations, prose, sounds and music, but also because of this, her role as a woman in the ‘tech’ industry.

Her complex digital installations feature interactive sculptures, often combining visual and aural effects with digital poetry in public spaces. She is an expert at creating an environment that engages the senses to trigger physiological responses from viewers, sometimes inviting them to interact with a control box she has created herself. Her work transverses digital fields on and offline, whether it is by using code to create interactive maps of real geographical areas, encouraging people to explore their environment by sending messages to neighbourhood trees, or by taking real data, animating it and overlaying audio to provoke thought and discussion.

Her combination of art and technology is by definition pioneering as each work needs to be site-specific. She has grown accustomed to the challenges and restrictions that come with installations in an array of venues using her talents to prove time and time again, that being a woman does not impede her ability to create art within a technical industry…”

“You had to dig a bit deeper to find hidden gems such as… Cartology Apology at the Scots’ Church – a trippy, layered piece of animation constructed from topographical maps of Melbourne and surrounds.”

“At the end of my exhibition visit, three favourite pieces remain with me[:] A work titled to arrive by chance by Alinta Krauth captures me instantly. It is a code-based artwork, blending computer science and poetry.”

“Wind Blisters Those Who Try to Run animates the solid and inanimate qualities of the windmill with a historically rich-yet-jaunty projection. The work mixes a variety of different styles as it is performative, interactive and contemporary, yet draws from historical cues. The potential for audience interaction is one of the standout features for me, as Krauth remained onsite during the performance to manually change between scenes. This allowed her to manipulate the artwork by adjusting the pace according to crowd levels. [I’m] Intrigued by her ability to breathe new life into existing structures through new media technologies…”

“Krauth’s work, Wind blisters those who try to run, can be seen as a catalyst for conversations around history and also as a generator of new meanings… A visitor to the U.R{BNE} Festival described Krauth’s projection as, “an x-ray of history which analysed deep Queensland bones and health”… Artists such as Krauth and her interactive, digital and video art contemporaries are working at the intersection of technology, art, culture and public participation to create new narratives for city spaces.”

“White Night challenges houses of worship to reveal their brighter side but Alinta Krauth’s “light painting’’ and pendulous sculpture at Scots’ Church was a mesmerising mix of bright and dark. The artist illuminated sections of the building from the inside out, looking to shine a light on native nocturnal animals.”

“Krauth is interested in the ways digital technologies such as projection mapping can be more than mere spectacle…”

“While projection mapping is sometimes a generic spectacle, there are artists who transcend the genre. Alinta Krauth’s work Little Boxes, a combination of projection mapping and visual art, is a hypnotizing world of exploding color and light, where animation beams from origami sculpture as if by magic, and kaleidoscopic patterns shift between shapes as if on little origami television screens…  She has transformed the use of a projector and software to become truly a fine art… In the end, we reach a rare nirvana, the space between technical prowess, true ingenuity, artistic wonderment, wrapped in a most urgent call for us to rethink our relationships with the creations around us.”

Alinta Krauth feature article tamborine times

Alinta Krauth Ipswich Art Gallery

Alinta Krauth Ipswich Art Gallery

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