Biography

Danielle Roney is an installation artist examining modernization and pluralistic societies through sculpture, digital media and public intervention. After studying at the University of Georgia in Sculpture and Digital Media, she has held studios in Los Angeles, Atlanta and currently Beijing, China. Her work with technology includes video installation, ultrasonic sound emitters, and public Internet interactivity.

Danielle has exhibited in the Beijing Off-Biennale 2005, Convergence, while in residence at the Red Gate Gallery. Developing international projects in public interactivity, Danielle has presented her Global Portals project to TEDGlobal 2005 in Oxford, England and began 2007 with intervention experimentation from Johannesburg, South Africa and Sao Paulo, Brazil.

Featuring video refraction sequences and a sculpture/performance video compilation in Genesis Trial: China 2006,the series continues with a South African project, Spring 2008, at the Museum of Contemporary Art-Georgia; where she received a Working Artist Project Grant for one year. She was featured in the top 50 emerging international artists 2006 by Contemporary Magazine, London and awarded an Arts Encouragement Award from the Charles Loridans Foundation 2007. Danielle's work is in numerous collections nationally and internationally and has upcoming exhibitions on four continents through 2009.

Artist Statement

Through combinations of sculpture, architecture, sound, video, and the Internet, the relationship between time and space plays a pivotal role in the interpretation of self and the defining factors of environmental understanding. Creating works that examine the perception of locational identity, the topics of macro and microcosms can be explored in a multi-sensory experience, introducing the participant to new ways of interpreting physical boundaries.

With influences by Nam Jun Paik, Joseph Beuys and Douglas Davis, performing satellite video experimentations in the 1970’s, my work has progressed through investigations in modernization and global identity structures through the intersection of said balance with the viewer. Interjecting personal metaphor in gallery and museum settings with the intuitive experimentation of public realm interactions, each aspect allows me to expand the vision of simultaneity, through the use of technology’s virtual space, enabling the viewer to experience infinite intangibilities. While redefining its relationship with the built environment, video projection, refraction of light and sound, and the incorporation of reflective surfaces encompass the participant in cultural commentary and new physical connections through the site specificity of the work.

As an extension of early Fluxus movement sentiments, the consideration of Bourriaud’s
relational aesthetic practices are applied to the global community through a challenging combination of virtual space and the urban environment. The erasure of time/space relationships creates displaced interventions to foster neutral territory for interaction. As a place that is relevant yet not defining, virtual space relationships with time based media, allow artistic reactions become a performative, psychological dance of personal dialogue surrounding architecture and the urban environment while emphasizing the balance of fragility and strength  in pluralistic society.

For me, the creative practice represents fascinating degrees of perception when combined with scientific theory and innovative technology. Interactive encounters break down systematic organizational structures. They facilitate a more organic look at the world around us and offer the chance to contemplate the context and meaning of our personal perspectives.