Collecting data from the news has become something of a pastime for Pozanti. “Making sense of metadata is the contemporary challenge,” she says, referencing stats she mines from research institutions, online data banks, and New Yorker articles for a running list of source material. (Think “portion of U.S. jobs held by humans today that are at high risk of being automated by 2024,” or “the percent increase of emojis that a single person is likely to be using if they’re having sex.”) “We are coming to a point where we are quoting statistics rather than understanding the world through words, or language, or poetry,” she says. And through this binary lens, Pozanti’s data paintings were born.
Prior to the SUNDAY fair, Pozanti combed through data to find figures specific to London, skipping past the city’s number of security cameras (too obvious) and ultimately landing on British data in the Edward Snowden leaks. A slogan used in military computer warfare operations—“Deny, Degrade, Destroy”—though not uniquely British, struck a chord with Pozanti, leading her to incorporate the words into her paintings at SUNDAY. “I want them to encapsulate information that is not tangible, that refers to our subliminal consciousness, that makes us human, that can’t be quantified through data or information,” she says. “That’s also why they’re textured,” she adds, running a hand along the surface of the jigsawed, dibond forms. “I want them to feel physical.”