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<channel>
	<title>Gill Baldwin</title>
	<link>https://gillbaldwin.com</link>
	<description>Gill Baldwin</description>
	<pubDate>Wed, 06 Nov 2024 10:10:59 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://gillbaldwin.com/Home</link>

		<pubDate>Wed, 06 Nov 2024 10:10:59 +0000</pubDate>

		<dc:creator>Gill Baldwin</dc:creator>

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		<title>IKEA Bewildered Exhibition </title>
				
		<link>https://gillbaldwin.com/IKEA-Bewildered-Exhibition</link>

		<pubDate>Sun, 27 Oct 2024 11:04:18 +0000</pubDate>

		<dc:creator>Gill Baldwin</dc:creator>

		<guid isPermaLink="true">https://gillbaldwin.com/IKEA-Bewildered-Exhibition</guid>

		<description>IKEA Bewildered (2024)
Exhibiton&#38;nbsp;

Over the last year, Gill Baldwin has developed a series of paintings depicting furnished interiors of the vacation cabins on the Dutch remote nature reserve Marker Wadden. The cabins are located on an artificial island designed to look and function as wild. Atuned to this constructed landscape, the interiors are entirely furnished with mass-produced and widly distributed IKEA furniture.

Chaos’ Cradle is .zip’s new program series and testing site for artistic research, experimental presentations and other works-in-progress at the intersection of ecology and technology. The program includes events of all kind – from screenings and panel talks to exhibitions and performances – to offer an intimate and informal space for sharing feedback, finding community and exploring new collaborations.
&#38;nbsp;Photos by Mihai Gui


 
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		<title>Moment-um</title>
				
		<link>https://gillbaldwin.com/Moment-um</link>

		<pubDate>Thu, 08 Feb 2024 15:11:51 +0000</pubDate>

		<dc:creator>Gill Baldwin</dc:creator>

		<guid isPermaLink="true">https://gillbaldwin.com/Moment-um</guid>

		<description>Moment-um (2024)&#38;nbsp;
Kinetic Sculpture

Medium: Steel, PVC, rubber, air compressor, mylarDimensions: 120cm x 40cm x 20cm
"Moment/um" unfolds as an air compressor breathes life into a plastic tube, setting off a choreography of unpredictable movements across its ground. In this kinetic work, the conduit becomes both the conductor and the canvas, responding to the force of compressed air in spontaneous and unpredictable rhythms. The interplay of chaos and environment gives rise to a living, ever-evolving artwork. Borrowing materials from industrial manufacturing, the sculpture further plays with the idea of the living mechanical where the forces of the natural world converge with the precision of human engineering. This constant state of flux asks us to consider the chaotic and the deliberate forces that shape our world.“An air compressor squeezing air into a tube, as featured in Gill Baldwin’s (1992) kinetic sculpture Moment/um (2023), is not exactly what you would call human. But because of the writhing movements and unpredictable rhythm of the tube snaking across the floor, you can’t help feeling somewhat compassionate towards it. As if the air compressor has literally breathed life into the tube. Exactly that tension, between life and technology, is a recurring theme in Baldwin’s multidisciplinary work. She is interested in the relationship between humanity and technology and how it is subject to constant change. This raises the question whether human values and emotions will be compromised when technology and artificiality finally gain the upper hand. Who or what will eventually take control and therefore also seize power?” - Text by Esther Darley&#38;nbsp;Video documentation by Flora Resnik
Photography by Beeldsmits

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		<title>Rolling Landscapes</title>
				
		<link>https://gillbaldwin.com/Rolling-Landscapes</link>

		<pubDate>Mon, 13 Sep 2021 11:10:25 +0000</pubDate>

		<dc:creator>Gill Baldwin</dc:creator>

		<guid isPermaLink="true">https://gillbaldwin.com/Rolling-Landscapes</guid>

		<description>Rolling Landscapes (2021)
Kinetic sculpture
Medium: Steel, chains, DC motor, natural grasses.
Dimensions: VariousWhen constructing the human-made nature reserve of Marker Wadden, 20,000 units of plants known as the common reed also known as the latin name Phragmites Australis were propagated into the sandy soil in order to stabilize the land. What does it mean to create nature? 
In the sculpture Rolling Landscapes hundreds of Phragmites Australis are individually cut and placed into floral water tubes with violent precision reeds are forced into a performative rotation. The sculpture explores the tension between the plants' fragility, the desperate preservation to keep these plants alive, and the rough, raw, physical violence inherent in manufacturing these natural spaces. 
Thank you to Wout Rockx for fabrication.
This project was co-produced by Gill Baldwin and V2_Lab for the Unstable Media as part of the Summer Sessions art and technology residencies.

Exhibited at Roodkapje as part of the solo exhibition BLISS
Exhibited at V2 Summer Sessions Test_labs 2021 Photography by Fenna de Jong






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		<title>Water Fall </title>
				
		<link>https://gillbaldwin.com/Water-Fall</link>

		<pubDate>Mon, 13 Sep 2021 11:17:01 +0000</pubDate>

		<dc:creator>Gill Baldwin</dc:creator>

		<guid isPermaLink="true">https://gillbaldwin.com/Water-Fall</guid>

		<description>Water Fall (2021)
Kinetic sculpture
Medium: Steel, DC motor, pvc digital print on vinyl
Dimensions: 105cm x 175cmA photograph from the popular stock photography website Unsplash is enhanced and printed to a 4 meter length, and rotated with a motion borrowed from street advertisements.&#38;nbsp; Reflecting on the concept of nature as a reproduced set of images and re shared experiences, when a machine replicates the photographic qualities of nature, what is left?Exhibited at Roodkapje as part of the solo exhibition BLISSThank you to Wout Rockx for workshop assistance.*Photography by Beeldsmits 





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		<title>Impossible Bodies Series </title>
				
		<link>https://gillbaldwin.com/Impossible-Bodies-Series</link>

		<pubDate>Tue, 15 Jun 2021 11:39:52 +0000</pubDate>

		<dc:creator>Gill Baldwin</dc:creator>

		<guid isPermaLink="true">https://gillbaldwin.com/Impossible-Bodies-Series</guid>

		<description>Impossible Bodies (2021)
Sculpture, Drawing, Painting

Medium: Various
Dimensions: Various&#38;nbsp;
Since spring 2020, Gill Baldwin has been working on the ongoing series Impossible Bodies, making compositions of body parts taken from their context and reassembled in uncanny forms. While these forms are ever reminiscent of human body parts, they are designed in such a way that Google’s A.I. image recognition service Cloud Vision is incapable of recognising them as such. 

Continuing in fascination, Baldwin studies these impossible bodies in pencil, paint, sculpture, 3D-scans, and more recently, oil painting, as an exercise in translation and repetition. Similar to the process of saving digital files in different formats, she saves changes and edits continuously until something completely new arises.&#38;nbsp;
*Text by Menno Vuister
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	<item>
		<title>As Seen in Nature </title>
				
		<link>https://gillbaldwin.com/As-Seen-in-Nature</link>

		<pubDate>Thu, 02 Apr 2020 10:06:35 +0000</pubDate>

		<dc:creator>Gill Baldwin</dc:creator>

		<guid isPermaLink="true">https://gillbaldwin.com/As-Seen-in-Nature</guid>

		<description>As Seen in Nature (2020)
Kinetic sculpture
Medium: Aluminum, Arduino, motor, 3D printed PLA, wood, natural grasses.
Dimensions: 50cm x 22cm x 150cmOften when taking the train from Rotterdam to Amsterdam, I am struck by the regularity of the landscape. Here it seems that we have domesticated nature to an extent that there is hardly anything left.
A row of natural grasses gently wave as if being blown by a breeze, the soothing movements made possible by a machine constructed for this very purpose. A reflection on our idealization of nature and the great lengths we as humans strive to recreate nature, once it has been lost.
Thank you to Mitchell Kester for workshop assistance.
Exhibited at Roodkapje as part of the HCA exhibition Shoulda, Coulda, Woulda.



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	<item>
		<title>There is Something I've Been Meaning to Ask You</title>
				
		<link>https://gillbaldwin.com/There-is-Something-I-ve-Been-Meaning-to-Ask-You</link>

		<pubDate>Mon, 08 Jul 2024 08:15:06 +0000</pubDate>

		<dc:creator>Gill Baldwin</dc:creator>

		<guid isPermaLink="true">https://gillbaldwin.com/There-is-Something-I-ve-Been-Meaning-to-Ask-You</guid>

		<description>There is Something I’ve Been Meaning to Ask You (2020)
Interactive Audio Tour&#38;nbsp;
Medium: Audio, QR codes&#38;nbsp;
Dimensions: N/AThere is Something I’ve Been Meaning to Ask You… &#38;nbsp;is an interactive audio tour through the city center of Rotterdam, bringing together a series of interlinking interviews with architects, designers, artists, software developers, and AI researchers about the increase of surveillance in their daily lives. The interviews took place during the summer of 2020, as the pandemic, track and trace fears, and BLM protests were taking place throughout the world. Launching from Roodkapje Gallery, the audio tour takes the audience throughout Rotterdam’s less explored pathways, pairing personal stories with the everyday experience of moving throughout the city.

In groups of up to ten people, the audience is given headphones and a map and are instructed to find eight QR code stickers placed throughout the city, each code being a chapter to the narrative. Upon scanning of the codes the audience hears personal stories linked directly to the location. Rather than a theoretical discussion on surveillance within the built environment, these stories provide an intimate view from a diverse range of professionals, identities and nationalities, connecting their thoughts on the subject to our own lived experience. The Rotterdam audience is given a new way to look at the places and structures they are familiar with, urging them to reconsider their everyday surroundings as active sites of surveillance.
For example while listening to Chapter 3, architect Beatriz Pero shares her experience and research on the gender politics of the sidewalk and CCTV cameras in Lima Peru. At the same time, the audience stands in a highly surveilled alleyway with multiple forms of CCTV. In Chapter 1 filmmaker Dorothy Cheung describes her experience of the Hong Kong government accessing public transit data in order to arrest participants involved in the student protests, while the listener gazes at rapidly approaching passenger trains. In Chapter 7, listening takes place in the courtyard of the Groothandelsgebouw - a historical building that has uncanny similarities to the panopticon - where we hear software developer Luke Murphy recall his switching to more privacy-respecting technologies in his professional and private life after the Snowden revelations.&#38;nbsp; All interviews are transcribed and can be found at https://surveillancestories.com/


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	<item>
		<title>3% of Everything </title>
				
		<link>https://gillbaldwin.com/3-of-Everything</link>

		<pubDate>Wed, 10 Jul 2019 15:45:58 +0000</pubDate>

		<dc:creator>Gill Baldwin</dc:creator>

		<guid isPermaLink="true">https://gillbaldwin.com/3-of-Everything</guid>

		<description>3% of Everything (2019)&#38;nbsp;Installation
Medium:&#38;nbsp;3D Printed PLA, monitor, spray paint, installation materials, artificial intelligence object recognition software&#38;nbsp;YOLO.Dimensions:&#38;nbsp;200cm x 150cm x 300cm&#38;nbsp;

3% of Everything (2019) is a response to the increase of data surveillance in our daily lives. Set in a world where machines are viewing our interior, the sculpture acts as the opposite of camouflage by actively being detected by object recognition software. Made by 3d scanning objects in her apartment,&#38;nbsp; assembling digital hybrids and 3D printing the results, these objects reside within multiple categories therefore confusing and lowering the confidence score of the software producing invaluable data.&#38;nbsp; 
Thank you to Marc Klein, The MC de Visser Fund Foundation and the Nova Scotia Talent Trust for their support. Photography by Salvador Miranda and Magdalena Wierzbicka*Winner of the MIARD Alumni Research Award 2019 
Exhibited at Dutch Design Week 2019&#38;nbsp;



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	<item>
		<title>Affective Environments </title>
				
		<link>https://gillbaldwin.com/Affective-Environments</link>

		<pubDate>Tue, 23 Oct 2018 11:33:25 +0000</pubDate>

		<dc:creator>Gill Baldwin</dc:creator>

		<guid isPermaLink="true">https://gillbaldwin.com/Affective-Environments</guid>

		<description>Affective Environments (2018)
Installation
Medium: wood frame, cellophane, kettles, arduino, monitor, speakers.
Dimensions: 100 cm x 150 cm x 300cm&#38;nbsp;

(formerly) Capturing Transcience (2018)&#38;nbsp;A seven minute performative architectural installation. Exploring the physicality of mental states through the act of breathing, a two metre high space, (containing the performer), fills with steam upon activation of two kettles. The performer wears a stretch sensor harness connected to the kettles via Arduino and a Relay, taking a live reading of the performer’s breath data. The kettles are only activated once the performer is in a state of deep relaxation. Over time the space fills with steam, influencing the performer’s own breath with a breath of its own, completely obscuring&#38;nbsp; the performer from view. Once the space is entirely filled, the kettles shut off, leaving the steam to condense into thousands of tiny droplets which eventually evaporate. How can we design our environments to help us emotionally? Through the symbiotic relationship between technology, the environment, and the performer’s own psychological state of mind. 
The project is about transformation, healing, slowness and presence, blurring architecture, performance and emotional wellness.* Winner of Call for Cyborgs 2018. Exhibited in collaboration with Robot Love during Dutch Design Week 2018. 


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A second prototype was made for Dutch Design Week 2018.&#38;nbsp;
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