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The word ‘tongue’ is both a synonym for language, and the name of a body part. Is language a mere function of our physical body? Or is it something far deeper and more intangible, connected with our true ‘self’, our very essence? And what does AI bring to the mix? Where might it reflect the true range and subtlety of human communication, and where is it an ersatz imitation?
List of artists in this category:
Oriana Anthony
Alice Ji-Won Kim
Anastasia Odintosva
Natthasit Suksangpleng
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Ma – the space between
Oriana Anthony
Oil and acrylic on linen (92×73 cm)
A painting exploring the Japanese Kanji ‘Ma’ / 間, whose meaning ties to a uniquely Japanese understanding of negative space. The kanji is made up of two symbols -the character for gate and for sun– representing the the gap in a door where light may pass through. This painting works upon existing notions around the kanji, using negative space to slowly build up the character in the back. Furthermore, it is painted over an existing painting of a human, an ode to the Japanese Kanji 人間 or ‘Ningen’ meaning human being.
Oriana Anthony is a 3rd year Fine Art Painting student in Camberwell. They are interested in the pictorial and philosophical nature of Japanese Kanji. Oriana is British-South American and speaks Spanish, French and Japanese to varying degrees.
Instagram: @oriana.pain.ting
Website: https://oriana.world/
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A Dialogue Between Machines
Natthasit Suksangpleng
Video installation
This installation presents a dissonant dialogue between two AIs. Their fractured language attempts to mimic human speech, but feels unsettling and artificial. The AIs’ obsession with trends and buzzwords reveals the current limitations of artificial intelligence in understanding the nuances of human communication. This work questions the nature of language, social performance, and the increasingly blurred line between human and machine intelligence.
Natthasit Suksangpleng is a mixed-media artist and MA Advertising student at LCC. His work collides digital screens with physical environments to explore how language and technology shape our perception of reality. Drawing on his background in Language and Culture (Bangkok) and his current focus on audience experience, he creates installations that invite viewers to question the boundaries between the virtual and the tangible.
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Sound Gestures
Anastasia Odintsova
Two pieces in clay, about 15 x 20 cm each
For this work I was inspired by the “sound gesture” theory, which emerged in the early 20th century and was associated with Russian Formalist literary scholars. It explored the idea that the way we articulate words in poetry—our vocal gestures to produce sounds—could mirror the content and imagery of the poem. The theory suggests that when we speak poetry aloud, our vocal organs —like our mouth, tongue, and throat— move in specific ways to produce the sounds. These movements imitate the shapes, sounds, and motions found in the natural world, often described in the poem. According to this thesis the physical act of speaking poetry reflects the content and imagery of the poem itself. My sculptured letters illustrate the examples of gestures associated with certain sounds, such as breathing out the sound ‘Haa’ and rolling the sound ‘rrrr’.
Anastasia Odintsova is a final year BA Fine Art Photography student at Camberwell College of Arts. She is particularly interested in relationship to nature and ecofeminist ideas. Anastasia speaks Russian, French and English.
Instagram: @anaodinart
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MOTHER-tongue (Pomegranate Offering)
Alice Ji-Won Kim
Red on traditional paper, and digital sketch
Drawing upon the literary legacy of Park Wan-Suh and Theresa Hak Kyung Cha, “MOTHER-tongue (Pomegranate Offering)” delves into the intricate relationship between language, sacrifice, and identity. Through a fusion of handwritten manuscripts and illuminated imagery, the artwork visually interprets a poignant moment from Park’s narrative, “A town where only -er live,” highlighting the transformative power of language. Just as the protagonist in Park’s tale discovers the truest form of ‘red’ through his wife’s sacrifices, the artist navigates the complexities of their own linguistic heritage, shaped by the sacrifices of maternal lineage. By meditating on the Korean tradition of Sagyŏng (the ancient art of transcribing sutras) and Cha’s evocative motifs, the artwork becomes a transcendent exploration of language’s enduring essence and the maternal sacrifice that sustains it.
Alice Kim is studying BA Design for Art Direction (Year 3) at LCC. She is particularly interested in the decolonial practices, linguistics, and beauty of well-crafted texts.
Instagram: @anemone_kim
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