Alinta Krauth is a cross-disciplinary artist working at the intersection of digital fine arts, literature, and the sciences. Recently her practice has involved creating public multimedia arts events and dynamic digital installations for the benefit of rural, regional and urban communities. Despite only practicing as an artist since 2014, Alinta has already been shortlisted for multiple awards including the Churchie Art Prize (2016) and the Sunshine Coast Art Prize (2015). She was also named Griffith University’s School of Humanities, Literature and Social Sciences alumni of the year (2017), due to the strong body of work she has produced since graduating.
The digital media that Alinta works with is constantly evolving, and has changed drastically since she completed her Bachelor of Arts at Griffith University, which means she is always looking for new opportunities to update her skills. A fellowship at The Moore Institute, a digital arts and humanities research hub within the National University of Ireland, will provide Alinta with access to dedicated staff and facilities, as well as library and material artefact collections unlike anything currently offered in Australia.
The fellowship program offered by The Moore Institute invites digital art and literature practitioners and researchers from across the globe to spend up to one month in residency, with access to their facilities and staff expertise. Alinta plans to utilise her fellowship to look specifically at virtual reality design for interactive art and creative non-fiction about anthropological artefacts. She will be mentored by digital studies researcher Dr Anne Karhio, a researcher in the use of landscape objects in the digital arts, and Professor Daniel Carey, while making the most of opportunities to interact and collaborate with other students from under-graduate to post-graduate level.
Through the fellowship, Alinta hopes to acquire skills that will assist her in pursuing a career in digital fine arts for museum spaces. She is also interested in designing a range of workshops upon her return to Australia, through which she can share her learnings with her local rural communities.
Alinta shared with us some insights into her experience as a regional digital artist:
Having grown up in rural and regional areas of Queensland, where I still remain today, I’ve always been surrounded by small-town arts practices: there are a vibrant collection of painters, woodworkers, potters, and musicians who tend to be drawn to the rural landscape and lifestyle. Experimental and interactive digital art, however, isn’t quite so easy to produce in the land of intermittent Internet and power cuts. Nor is it easy to find a common network of similar artists. So I’ve ended up with a practice that is both heavily informed by, and yet quite strongly at odds with, my surroundings. To me, the aesthetic of South East Queensland bush is a wash of green and brown, it is an aesthetic of damp heat, wet dogs, and the feeling of accidentally stepping in chicken poo with bare feet. These are not aesthetics that I dream of seeing in my future works… And yet, I realise that living here has given me a strong sense of what is important: the environment, native animals and their habitat, the climate, our over-consumption, and telling these stories of the sciences and humanities to a wider audience. The environment of Australia is unique, and not yet entirely ruined, so through art I try to allow others that same sense of connection with, and responsibility for, our surrounding spaces.