Artist Bio:

Linda Loh is a visual artist working between New York City and Melbourne, Australia. Her multimedia works navigate the elusive form and materiality of digital space with transformed sources of light. In 2012 she received a Bachelor of Fine Art (Expanded Studio Practice) from the Royal Melbourne Institute of Technology (RMIT) University, Australia.

She has had solo and group exhibitions around Australia and in the USA, with works curated into projection festivals, public LED billboard projects, online events, screenings, film festivals and art galleries. She has undertaken several artist residencies around the world, including NARS in New York City.

In 2021 she completed a Master of Fine Art in Computer Arts, at the School of Visual Arts in New York City. Since then she has participated in many exhibition projects, in both physical space and online, in Australia and the USA, as well as Switzerland and UK. She has featured in interviews and podcasts and has a presence in web3 communities. In 2022 she was engaged in an innovative, international curatorial project, which resulted in an exhibition at Untitled Miami, part of Miami Art Week (Art Basel), in December 2022.

In 2023 she has exhibited works in Hobart and Melbourne, Australia, New York City, Nevada, Colorado and Florida, USA, and various online events, such as the MESH Art Fair in Decentraland, curated by Bay Backner, (Vueltta), and Wild Media:Wired Wilderness, curated by Alinta Krauth for iDMAa (International Digital Media and Arts Association).

Artist Statement:

I am preoccupied by ideas around light-based phenomena. I’m curious about the relationship of light to altered states of consciousness, sensations of boundarylessness and infinity, and whether representation of things elusive and ephemeral can be a metaphor for experiences of transcendence. Digital media and projections are themselves like the slippery nature of mind. 

Using digital tools, I distort and transform photographs and videos that mostly originate from everyday sources of light. The results are abstract composites of indeterminate forms, perhaps slow moving, often colorful, and usually retaining their inherent luminosity. Little is obvious for the rational mind to grasp. 

I relate my work to the “technological sublime”, an extension of the romantic sublime period of art history, which has themes of awe and wonder.  Expanding this, I recently researched Neoplatonism, a lesser known corner of ancient philosophy, yet one that has influenced both Eastern and Western traditions. I was rewarded to unveil many of the above themes. It is validating that Western culture has, after all, long recognised ineffable experiences as an intrinsic part of human psychology, with positive results for humanity. That these ideas might be re-emerging feels like a fitting conversation to participate in while navigating this luminous, numinous digital space.