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Anina Rubin’s work revolves around a complex set of queries. Not only is she questioning the binary system of computing reflecting the binary system implicit to many facettes of our cognition. She is interessted in the possibility of qubits replacing the binary and annulling the dichotomy, or at least diversifying it. She also tackles notions of AI and algorithms and their constraints bound to the limitations of the individuals programming and thus creating them. The interest in computing and the digital is perceived through a larger subject of human consciousness and societal norms. All these questions swirl around her head while Anina works on her polychrome compositions. Depending on your references, the images might evoke hard edge painting, a streamlined Mandelbrot visual and Kirlian or aura photographs . This interlacing of technology, art history and spirituality is ever so present in Anina’s works.

The title ‘Angelic Algorithms’ also suggests the presence of both entities in this work. Angels as metaphysical light beings are considered messengers of God, thus transferring information.  This title reminds us that just like religion and God can be questioned or followed blindly, so can the power of technology namely AI and the algorithms that control it be considered the savior or downfall of modern mankind. In both cases what stands behind these formulations is the human being composing a program and/or doctrine, once with letters and words, once with ones and zeros. The critical approach of the artist reminds us of these multifaceted and complex realities without putting judgment on them.

Anina, as an Generation Y artist was introduced to the creative process via Photoshop. The program, prone to experimentation, possibility and speed let to a creative freedom, albeit restricted to a screen. She is however coming full circle when she transposes her compositions designed and generated on a computer, onto a canvas, using the most traditional technique of, oil painting, to do so. Again, she is underlining the human component in all creation by making it visible through the materialization of a digital composition. Meanwhile she is also questioning the still implied notions of most viewers, that true art should be a painted canvas hung on a wall, not designed on your laptop.

Text by Laura Kollwelter.

gate26, 80 x 53 cm, c print, 2017


gate27, 80 x 53 cm, c print, 2017


gate53. 125 x 80 cm, c print, 2018