Digital print on aluminium.
The Love Machine II looks at a new variety of exhibited object produced by the play of digital imaging - the morpheme. The morpheme represents the hybridity between technology and flesh, which computer imaging makes possible. It is also representative of a tension located within the logic of digital technology itself. This develops between the hierarchical, orderly processing and storing of data in the computer on the one hand, and the chaos and confusion of information which deletes itself, mutates and transforms, on the other.
The poor quality of the images becomes obvious when they are viewed on an enlarged scale, and the artists deliberately play with this ‘poor quality’ against the promise of perfection through choice that the original booth seems to offer. These images are magnifications, even explosions, of the social archetypes embedded in the process of this form of image taking: that is, ‘the couple’, ‘the perfect child’, and ‘the genetic mutation’.