THIS-HERE-NOW 2013. Reflective surfaces in Trisant’s digital works create interrelations between objects in a hermetically sealed computer-generated environment. The scenes adopt presentation and display strategies commonly used in commercial advertising, but these are used to foreground the nature of representation, modern patterns of consumption and the projection of desirability onto consumer goods. Tight loops of repetition are used in these digital animations to exaggerate advertising techniques that place products firmly in consumer’s consciousness. The repetition invokes flux, but rapidly returns to point zero.

HIGH FRENZY 2013.
The scene adopts presentation and display strategies commonly used in commercial advertising, but these are used to foreground the nature of representation, modern patterns of consumption and the projection of desirability onto consumer goods. Tight loops of repetition are used in these digital animations to exaggerate advertising techniques that aim to fix products in consumer’s consciousness.

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Product Range Repeat (2010) Deptford X. The animations stem from experience developing Playstation computer games at Sony Computer Entertainment Europe. The work also reflects an interest in the proliferation of images in advertising and the aggressive marketing campaigns used to instil brand awareness in the consumer. Short movies typically run on a tight loop of a few seconds where repetition and syncopated animations create a frenetic sequence that echoes the continual feed of images of luxury brands experienced in modern life.

The work uses a shared vocabulary found in many commercial adverts and also makes a connection with the still life genre -particularly Juan Van der Hamen, Desportes and Baugin – in the presentation of objects and the stimulation of desire.

The still images are rendered outputs from a 3D digital scene, making the link between still life painting and contemporary presentation of consumer products more explicit. The scene is stripped of most direct links to specific brands that may have influenced the overall look, it is then reconfigured in virtual 3D – modelled, shaded, lit – giving a degree of separation from the original source material and the flexibility to manipulate the scene and camera to suit the specific work. The works are abstracted to the point where still life, consumer products, and Modernist forms converge.

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