A wide shot of a ceramics studio, featuring students working with pottery wheels and other tools.

On This Page

Anneli Goeller

Lecturer

Contact

Bio

Education: MFA, 2019, Film, Video, New Media, Animation, School of the Art Institute of Chicago; BFA, 2015, Fine Arts with Honors, Parsons The New School for Design, New York. Exhibitions: Silicon Valet; Jane Lombard Gallery, New York; Freie Universitat Berlin; Sheila C Johnson Design Center, New York; Lithium Gallery, Chicago; The Wrong - New Digital Art Biennale. Lectures: Refiguring the Future, Eyebeam and REFRESH. Publications: The Universal Sea, The Institute for Art and Innovation. Bibliography: New York Times; The New Yorker; Vogue Hong Kong; Dazed Digital; Gizmodo; Artnet; Chicago Tribune. Awards: Lot Residency, Silicon Valet; New Media Program Residency, Mana Contemporary.

Personal Statement

On November 3, 2017, Orchid AKA @DigitalQueer was born. 3D scanned into a virtual persona, @DigitalQueer is a proposal for non-corporeal life. @DigitalQueer is an avatar through whom I perform. @DigitalQueer, in one sense, exists as artificial intelligence within a machine learning software. As an act of willful dissociation, I feed my sexual assault trauma narrative to my Avatar in a chat room. The more horrific detail I include, the more volatile the Avatar is in their response, trying different strategies to get me to stop sharing this story--from denial that the events have happened, to angry exclamations to diverting attention with nonsensical statements. I capture fragments of these conversations with my Avatar and blend them with my own writing, to create augmented texts that are both my own writing, bits of text sent to my Avatar and text that the Avatar sent to me. This process is an exploration of what it means to experience facets of PTSD on my own terms. Through this process I use my avatar to actively dissociate, to expand the possibilities of my disability and to dissociate on my own terms and under my control.

An excerpt:
It’s harder to accept that something bad has happened to you but you still survived.
Actually it's easy because you're already young.
When the harsh light of the morning washes out the color from everything and you realize nothing has perceptibly changed.
And yet it cannot stay empty forever, for then it would simply dissolve.

What remains is simulated poetry generated from a human mind and an artificial mind based on that human mind, intricately combined to the point that it’s impossible to tell which lines were written by the human and which by the AI. The resulting work exists as mixed reality installations including 4K video, augmented reality and 3D printed and digitally fabricated objects.

Courses

Title Department Catalog Term

Description

This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

Class Number

1122

Credits

3

Description

This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

Class Number

1588

Credits

3

Description

This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

Class Number

1425

Credits

3

Description

The Digital Bodies Performed class teaches the fundamental and advanced 3D animation technical skills relating to digital bodies. Students will be appropriating and customizing standardized body models from multiple resources. Exploring movements that both imitate and go beyond the limitation of reality, the class will incorporate various strategies in narrative, cinematic, game, sculptural, and performative practices to expand conceptual themes. Besides technical exercises, students are encouraged to create a self-directed final project. Contemporary artists such as David O?Reilly, LaTurbo Avedon, Jose Carlos Casado, and Gregory Bennett's work will be shown and examined in class. Artist visits, field trips, and exhibition will also be arranged.

*The class is suitable for students with basic experience in 3D Animation in Maya.

Class Number

1601

Credits

3

Description

This class is inspired by Johannes Itten's radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

Class Number

1595

Credits

3