Ich wohne und arbeite in Sweden
Thomas Marcusson (b 1981, Sweden) is an artist experimenting with a range of different media; from photography, sculpture, video and online. His work is often reflecting on the advent of new technology and what impact this has (or does not have) on society, human behaviour and individuals. He has had is work exhibited at the Powerhouse Museum (Sydney), the Eyebeam gallery (New York), the Science Gallery (Dublin) and theMuseum (Ontario). After having studied mathematics and science in Sweden, Thomas went on to study Visual Communications at the University of Technology in Sydney where he graduated with first class honours in 2006. He is now a practising artist in Europe, Australia and the United states. Some of his artwork includes The Worryball, www.theworryball.com and Signs of surveillance, https://www.youtube.com/watch?v=Vx8tjQr8etQ
I have a great respect for narrative art forms such as film, photography and the written word. I believe that there is an unbreakable aesthetic core embedded deep within all these disciplines that will never seize to engage, challenge and fascinate. I also adore the more traditional visual art forms, that precious individuality which is channeled through the tip of a paintbrush or from the bare hands of the artist, making every piece magically unique. I don’t think new media or online art can capture these qualities to its full extent, at least not yet. However, I do find myself exploring these emerging artistic territories with great curiosity. There is something delightfully non-discriminating about the online space, where all of the sudden most people in the world have access to the same piece of art. Just as cinema became a democratising medium in terms of involvement, the online space can reach people and participants that traditional venues such as art galleries or museums simply cannot. There is nevertheless some major differences between the two. People in the online space don’t adapt the same behavior and expectations as they do while watching a film or attending an exhibition. Since the Internet is mostly a tool for effectively finding and accessing information, it has made people incredibly goal-oriented, a delay in just a few seconds from obtaining the desired information quickly leads to frustration. Not an easy space for an artist to navigate with the aim of creating contemplation and reflection. I think that sticking to that core of what makes narrative art so dramatically engaging and traditional art so uniquely compelling is key to creating successful online artworks. And as the never-ending advent of new technology is paving the way for more experience based content we will hopefully see a greater acceptance of the Internet as a vessel for beautiful and thoughtful art worth spending proper time with. .