Death to Yevgeny Nourish uses a live fish housed inside a tank to which a small LCD screen is attached. The screens imagery flickers, while a Japanese Fighter fish creates a wispy silhouette against an ambient rainbow of colour.
A hybrid ambient object, Death to Yevgeny Nourish masquerades as a TV, a fish tank, a lava lamp of sorts, aiming to touch on ideas of screen-based media and entrapment. This early work considers the persuasive power inherent to screen-based environments, and what it means to immerse beings in a deliberate virtuality. The fish can represent an immersed body of any kind, and in this instance it’s an immersion within a televisual environment.
Like the game designers in the Cronenberg film Existenz (1999), where Ted Pikel accuses Yevgeny Nourish of creating the most “effective deforming of reality”, Death to Yevgeny Nourish considers the moral and perhaps psychological implications of televisual media.
Death to Yevgeny Nourish was shown as part of the
New Genres group show Under The Gun,
at RMIT Univeristy School of Art Gallery.
Curated by Ian Haig.