Each work in the series is a selfie of the artist within a landscape of a satellite map. The cursor is not a representation of the artist; it is equivalent to the subject of the selfie. It is the “I,” the one who is in the landscape. The cursor is the only possible form of “self” that wanders “there”.
Such a selfie may appear impersonal, but in fact it is multi-personal: the viewer who contemplates these landscapes finds themselves within these two-dimensional terrains under the same conditions as the artist-cursor who took the selfie. Thus, these images are potential selfies of anyone who looks at them.
Each selfie is the outcome of a pursuit for picturesque and spectacular landscapes. The beautiful views captured in the series can only be encountered on a digital cartographic platform. These alluring sites are not so much the product of the landscape itself as of a particular type of map. Their discovery does not submit to the logic of landscape and requires a direct wandering across multi-scaled, nameless panoramas of images in search of astonishment.
The series discloses an existential situation that cannot be found anywhere outside digital maps. In Heidegger’s terms, the artist’s cursor-selfie delineates a new existential — a new mode of being-in-the-world. This mode seems familiar and accessible today, yet, as Heidegger himself noted, that which is closest is the least transparent and the most difficult to articulate.
