Last update: 21 January 2021
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The Legend of Debbie

Wormholes, turntables, greebles, psychogeographical faultlines.... in The Legend of Debbie




For many years I’ve struggled over what should be the final form of a work. As an artist experimenting with different media, what does it mean to "digitise" one’s work? The process of presenting work in the digital form involves translation, but what exactly is gained or lost in the progress?











In “The Legend of Debbie”, I embarked on an ambitious attempt to represent the body of the last 10+ years of my work as a 3D interactive experience. As the “one woman 3D development team” (who also has a full-time day job, and a small baby), in stolen minutes after work and on weekends, I built a colossal solo gallery, reminiscent of national pavilions at the Venice Biennale, which I wish to cover wall to wall with images of my works. A crazy tour guide gives you the run of the place.

The different works have been literally turned into portals or wormholes through which one can slip into parallel universes, where each of the works can expand into alternate readings of themselves. Guided by a narrator who introduces themselves as the artist, the seemingly "autobiographical" stories told themselves are a mix of fact and fiction, the tour narrations themselves are portals into other dimensions.