Taline Temizian (b. 1978, USA) practices a transhumanist perspective on memory and trauma by investigating the different modes through which neurological activity contributes to lived experience. Temizian works to depict a place of memory situated between a state of mind and physical reality, manifesting complexed networks comprised of scientific methodologies, conceptual discourses and personal narratives.

Employing multiple processes and media, Temizian presents raw yet technically intricate objects and installations that produce bold sensory and emotional experiences. Interrogating the transhumanist promise of eternal and idyllic life through science and technology, Temizian applies an artist and poet’s touch to these vocabularies in order to reformat connections between personal history, physical and metaphysical conceptions of humanity. Currently based in London, with projects across Europe, Temizian’s practice often sees her collaborating with philosophers, scientists, technologists and filmmakers in pursuit of her creative goals.

” The art practice of Taline Temizian combines live feed imagery and prerecorded modifiable imagery with works in traditional disciplines such as painting and sculpture which she infuses into multi-mediumal constellations on an architectural dimension. Her works are situational, i.e., dependent and activated through and by the concrete movement of the viewer in time and space, but at the same time they are also confessional and personal, the outcome of processing biographical source materials. Temizian’s works are phenomenological as well as representational, juxtaposing experiential with pictorial entities.

In her work Temizian parallels between technological mechanisms and psychophysical mechanisms. She is elaborating on the physical implications of circulating technologically modifiable imagery through and between communication networks and representation systems. Temizian relies on art-historical contexts and on scientific discourses. More than objects or painterly/sculptural installations, her works can be considered a sort of habitats, living areas which make no distinction between the animate and the inanimate, the virtual and the material, the living and the dead. In addition, Temizian’s art practice transcends and blurs the difference between ‘here and now’ and ‘there and then’, creating an altered zone that intermixes a variety of times, places and forms of being, into an indeterminate heterogenous state of things. “