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Oddly Satisfying

Welcome to Space #3

From YouTube clips of pimple-popping to a sharp knife cutting through pink sand, a new genre of online entertainment has emerged.

This category has been labelled “Oddly Satisfying” – something that surprisingly soothes our psyche, removing us from stressful environments and placing the viewer in a new world. 

In 1999, a study by the Smithsonian Museum found that visitors experienced the museum as “satisfying” through engagement with objects, cognitive activity, introspective feelings and/or social interaction. While these relate to physical exhibition spaces, a contemporary form of satisfaction is produced through videos including ASMR. “Autonomous Sensory Meridian Response” is a tingly feeling or hyper-relaxed state triggered by certain noises and visuals. As curators we are interested in the person behind the screen; watching these tactile engagements with an object.

Profile Gallery’s “Space 3”, includes artworks by Sandra Araujo, Benjamin Hall, Yasmin Morgan, Ellie Niblock, Lily Thompson and Georgie Strauss. Selected by Grace Frazer and Farah Dailami via social media, the artworks within “Oddly Satisfying” attempt to elicit an inexplicably pleasing quality. 

“Oddly Satisfying” aims to reflect on a new culture of sensual, emotional, physical and visual engagement. Following the categorisations of the 1999 study, how can curators and artists in a digital age make a viewer experience “Oddly Satisfying”?



Benjamin Hall
Fastest route, the usual traffic’
A confused interrogation of Google Maps' route-finder algorithm, automation bias and the emergence of 'death by GPS.' At a moment when tools for geolocation are becoming tools for subjugation and convergence, is anyone who wanders really lost?
Ellie Niblock
‘The Birth of the Bubble Bitch’, 2020
The Bubble Bitch experiences a re-birth when making a transition to the digital world. She finds herself in cyberspace discovering foreign territory.  This work seeks to explore the virtual and tactile synthesis, through the combination of silicone cast bodies and their digitised versions. The lines become blurred when viewing the physical world through a digital lens, altering our sense perception.

Lily Thompson
The Murk’ 2020
This work is a video essay on ‘the murk’ – an all-encompassing state/object/being into which everything disappears and reappears. the murk is the mud from which plants grow, and it’s the place where your deleted files go. it isn’t the unknown, more like the delicate mycelium of everything. 
Sandra Araujo -
‘Rio me porque és da aldeia e vieste de burro ao baile’
Georgie Strauss-
‘Jailcell’, 2020
‘Jailcell’ was created in the first lockdown in the UK, where due to family circumstances I was shielding in my bedroom. I was only meant to leave my room for food and to shower etc. And so my room began to feel like a jail cell- which is reflected in the dark mood, and the bars on my only window


Benjamin Hall
"Crowdsourcing", 2020
Interactive HD video installation
A lightly edited live recording of a semi-interactive video installation questioning the conflation of predictability and chaos in digitised societies. Featuring pseudorandom particle simulation, algorithmic editing, AI-authored text and miniature landscapes at claustro/agoraphobic scale. And a lot of dithering.
Sandra Araujo
Yasmin Morgan

Georgie Strauss-
"Carol Baskin", 2020
‘Tiger King’ during this time in lockdown my only escape was through television. The tiger king craze consumed me. This is reflected in the dreamy light, and almost angelic figure of the murderous Carole Baskin.


Benjamin Hall
"Fastest route, the usual traffic", 2019
2-channel video installation; one HD video, one displayed on inkyWHAT Raspberry Pi eInk display, 10m0s
A confused interrogation of Google Maps' route-finder algorithm, automation bias and the emergence of 'death by GPS.' At a moment when tools for geolocation are becoming tools for subjugation and convergence, is anyone who wanders really lost?
Ellie Niblock
"Nasty Sugar Said Fly, As We Danced On Top Of Mars", 2020
An animated film exploring the relationship between the digital and the physical worlds and how they interact with one another. The digitised human experiences the allure from the simulated world and encounters the cyber born character ‘Nasty Sugar’ and decided to remain in the idyllic space. This work explores the hedonist view that pleasure is the solution to happiness. 

Lily Thompson
Column, Vessel, Void' 2020
Digital 3D models on digitally tessellated ink and bleach drawing
Is there anything better than something that goes on forever? I’ll let you decide. What ever happened to the joy of on/off, inside/outside, up/down? What a difference a difference can make.
Sandra Araujo -
"Balas Perdidas"
Yasmin Morgan

Georgie Strauss-
‘I'm not sure how much more longer my mind can handle’, 2020
‘Fragile’ this piece was created in a moment of severe anxiety, due to being confined to the small space, and being left alone with my own thoughts for too long. The colours are abnormal and conflicting, projecting an unregulated state of mind.


Benjamin Hall
'2019 Advent Calendar', 2019
Vacuum-formed PLA plastic

Every December, my Advent Calendar conflates time, festivity, consumerism and confectionery into one foil-wrapped package. This is my attempt to rationalise the insidiousness and elegance of this object, as blended with digital anatomical fragments and industrially formed plastics.
Lily Thompson
'Infinite?', 2020
Drawing 2: some kind of Archeopsychic desire to be in the wild’ 2020, digitally tessellated ink drawing on four panels.Taking a look through a series of windows, this is an exploration of observation. It comes from a series of works titled ‘It’s about the window and the window and the world beyond’.
Sandra Araujo -
'tape loading error'
Yasmin Morgan