GameScenes is talking to artists, critics, curators, and gallery owners operating in the field of Game Art, as part of an ongoing investigation of the social history of this artworld. Our goal is to document and discuss both the origins and evolution of a phenomenon that changed the way game-based art is being created, experienced, and discussed today.
The conversation between skot deeming (mrghosty) and Matteo Bittanti took place via email in February of 2014. skot deeming is one of the masterminds behind Vector: Game + Art Convergence, one of the most lively, eclectic and electric events entirely dedicated to Game Art. Vector debuted in February of 2013 and the second edition - bigger, better, bolder - is right behind the corner.
GameScenes: First of all, who is skot deeming? What is your background? What are your main passions and obsessions? And how did Vector come to be?
Though really the primary challenge, I think, is outreach and acceptance of the festival. We're in this weird middle ground where we find ourselves split between the art question and the game question. Which makes it a challenge to find the right audience. I think we're succeeding on that front.
skot deeming: Oooh, that's a tough question actually. I think that generally, I'm most drawn to work that really pushes the limits of the medium. Work that is really self-reflexive (of the medium itself), which generally leads me to think more and more about art-modding and its history. I'm pretty pre-occupied with how we can think of games in relationship to avant-garde art practices. What does this look like? What kind of medium specific questions are these intersections provoking? How do we create a rubric for understanding the various practices which fall under the larger umbrella of game art? So far I still have more questions than answers, but I'm enjoying thinking about this a great deal.