Angela Bulloch was born in Ontario, Canada in 1966 and studied at Goldsmiths College from 1985 to 1988. She was short listed in 1997 for her inventive use of a wide range of mixed media, as demonstrated in life/live at the Musée d'Art Moderne de la Ville de Paris.

Angela Bulloch makes cool, immaculately fabricated mixed-media sculptures which often include functional elements that can be activated by the viewer, or that are modified by the passing of time. She has said 'I am interested in how things evolve, or shift their meaning when you move them into various different contexts. I am also involved in a consideration of time-scale as a framework, rather than assuming a fixed perspective ... I like the apparent contradiction of defining something which is always subject to change'.

Since the end of the 1980's Angela Bulloch has produced works that vary greatly in appearance, they have nonetheless one topic in common: namely the handling and projections about the regulatory nature and organisational structures of our past and present life systems. Typically, she conceives several work groups concurrently. She does not elaborate them in chronological order, but sometimes abandons one, only to take it up again at a later stage.

These groups cover a wide range: sound works, light pieces, drawing machines which respond to movement, pressure or noises made by the viewers. Some of these are interactive, while others merely give the impression of being so. Then there are wall paintings, photo series, video interventions and text works called "Rules". Various self-imposed rules of society are chosen then removed from their particular social contexts and reinserted into different places. This process undermines the authority of the rules, and they become 'images' of society's structures. Angela Bulloch's works are either of an impersonal, technical nature or their aesthetic is determined by the technology employed (video, film, sound or image processing, etc.). Her work features forms familiar to us from the everyday world, or the "revamped" earlier version of the technology she employs. Consequently, regarding design concepts, the artist's entire life-span is represented - from the sixties until today (and into the future).

A central aspect of her work is that she not only enables us to experience from within how realities are organised as sites of action and systems. She also reveals the constant flux of things caused by the projection of ideas and concepts onto locations, objects and realities which actually exist. The perception of structures and the perception of this perception can be described as the site in which the restructuring of reality is expressed as the constitution of individuality.

The technology behind her more recent pixel works is relatively easy to explain as a reinvention of television. Bulloch collaborated with Holger Friese to create a special modular light mixing system that allows 1.6 million colours to be mixed thanks to fluorescent tubes in the three screen colours red, green and blue. They engaged a variety of technical experts for the research and development of the various pixel modules. An interface was invented to operate the modules individually with digital information and each work runs its own programme.

Each pixel module consists of a backlit glass sheet in a box and fluorescent cubes arranged by the artist to form various structures: towers, rows and more recently an entire "movie screen".
Systems of rules and ordering principles–structures that organize our surroundings and our behaviour–are a central theme in the work of Angela Bulloch. The artist combines light, sound, text, video, and objects to create multidisciplinary installations that explore interconnections between digitally and historical Modernism. One concrete implementation of this issue is the Pixel Box, a three-dimensional object that can be programmed like a 16 -million-colour monitor by means of a modular RGB light system. Pixel stands for "picture element" and is the smallest unit in the display of a screen image. The rectangular form of the pixel box is also reminiscent of Minimal Art, such as works by Dan Flavin or Donald Judd with their focus on geometry, reduction, and colour compositions.
At the Secession, Angela Bulloch is showing a new series of pixel boxes. The boxes are both architecture and figure, and this synthesis–a classic avant-garde interface–is the focus of To the Power of 4. Angela Bulloch works with the tension between geometrical grid patterns (floor and ceiling design in the main space, form of the box) and organic bodies, extending their relationship by means of projections onto and into the boxes. In this context, the factors of "time" and "movement", like the notion of the "pixel", are to be understood not as physical units but as a logical principle–as a conceptual space.
At the heart of this installation is a raised floor and suspended ceiling that are interconnected by over a kilometre of luminescent string – a reference to Marcel Duchamp's installation Sixteen Miles of String, shown at the Surrealist exhibition of 1942 in New York.

The 1001 numbered metal disks hanging in a line around the wall allude to the numbering system that Berlin's environmental agency uses to manage its trees. The changing lights and synthetic electronic music composed by Florian Hecker create the impression of a controlled climate under constant technological surveillance.

Got a case of chromo phobia Angela Bulloch's ingenious pixel boxes might not be what the doctor ordered. The artist, who is based in Berlin and London, has given the pixel--the indivisible picture elements.
Basically, Bulloch has transformed the little colour squares that make up a televisual image into large, individual sculptural units. Each one is a fifty-centimetre (nineteen-and-a-half-inch) cube and consists of a screen framed in a wooden box containing an RGB additive light system: three strip lights in red, green, and blue that are capable of producing an astonishing 16 million colours. The modular pixel-box system, which has been developed and copyrighted by Bulloch along with the German artist Holger Friese, can be programmed with any digitised image, from preset animations to solid colours. Whatever appears on a screen can be shown on the pixel boxes, yet their size prevents the spectator from discerning anything beyond colour, which app ears to have devoured and metabolized all other information present in the source image.
In one recent incarnation of the system, "Standard Universal: 256," 2000, Bulloch presented a specific instrumentalization of colour; the 256 shades of the Macintosh screen moved like breath across a single pixel box, one shade exhaling the next. For this show, Bulloch has taken her project to the next logical step, capturing colour as narrative. She chose a key scene from Michelangelo Antonioni's 1966 film Blow Up: the photographer stepping out from behind a tree to take pictures of a couple in the park. (Only later, when developing the prints, does he discover that he has photographed the traces of a crime.) The appropriated scene, which might be recognizable at a vast distance, appears on seventeen pixel boxes arranged in five columns, all blinking silently at the spectator.
Although Blow Up may seem an all too obvious choice to blow up, Bulloch's gesture is not that simple. While it's true that the scene is enlarged through the scale of the pixel boxes, there is also a reduction at work in her transformation of the source image. To get the colour for each box, Bulloch decreased the resolution of the scene on the computer screen, from seventy-two to one pixel per inch, which allowed her to capture the photographer's movement instead of any of its details.

In other words, she did not zoom into the film but flattened it out, reducing detail and taking away information. Unlike film, the pixel--whatever its size--hides no fragments in its surface; when we try to get closer, it simply pushes us away, revealing more of the same colour. By choosing to pixelize the photographer, instead of his photographs, Bulloch puts him and his tools in the past and shows that the dynamics of the trace have simply disappeared.
Having tackled Antonioni's chef d'oeuvre, Bulloch's next step is to integrate real-time information. The pixel boxes will be installed at the OK Centrum fur Gegenwartskunst in Linz and change colour according to the movements of local pedestrians. Such an interactive project is typical for Bulloch, an early proponent of relational aesthetics. The modular pixel-box system may be a technical feat, but it also presents a challenge to the definition of artistic endeavour: Why simply produce works when you can invent entirely new media? The implications of Bulloch's project are almost as numerous as the colours on her palette.

Young British Artists or YBAs  also Brit artists and Britart  a group of conceptual artists, painters, sculptors and installation artists derived from the Sensation Saatchi Gallery Exhibition.

Colour Harmony and Healing

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Angela Bulloch To The Power painting on rolled canvas painted with artists acrylic paint. Hand painted copy.30" x 40" canvas R.R.P. £179.99

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Angela Bulloch Panorama Island painting on rolled canvas painted with artists acrylic paint. Hand painted copy.30" x 40" canvas R.R.P. £179.99

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