Adam Dix’s work concerns itself with associations between communication technology and our desire to communicate. His exploration into our response and subsequent personification of these devices of modern communication describe how we relate to and comprehend technology on a humanistic level.
Here there may be disparity between the desire to communicate and the physical isolation from others that technology can engender. By focussing on the abundance of communication devices in contemporary society, his work encapsulates the allure for the user to stay in a constant state of connectivity whilst discussing how these instruments interrupt and influence our command of the world around us. This is exaggerated by appropriating the ritualistic and ceremonial traits and imagery often found in the genres of science fiction, nationalism and religion.
Whilst referring to these constructed ‘belief systems’ that foster a group response, comparisons between past and present systems of connectivity are initiated. Dix also emphasises “Sci- Fi” as a contemporary folklore that depicts a social psyche, and like religion and nationalism share similar bonds that heavily rely on choreographed worship. Through combining these genres, Dix acknowledges the exaggerated response of the subject’s relationship to the ‘Icon of infotainment’, conveying a sense of compliance or worship.
Dix’s palette of muted colours, hazy imagery and subject anchor the work in a time of historical optimism. Reticent of the imagined futures of our predecessors his deployment of colour links the subject of contemporary technology to its origins. This has led to the production of work that invite the viewer to engage in a secular celebration. A festival of communication, presided over by a Shamanic custodian that acts as a conduit between audience and transmission device. Where the phone mast and satellite dish take on the character of ‘Totem’ and the audience depicted represent a circulation of connectivity.