For the duration of two weeks (17.08.2014-31.08.2014) I will undertake the construction of a virtual monument, offering previews of the progress online, or more specifically on the digital platforms Pinterest, Twitter and my own portfolio site.

The monument, which as the title suggests, serves no agenda, and comes as virtually ‘packaged’ consisting of 14 parts and accompanying instructions allowing the follower to replicate each of its parts in Adobe Illustrator in order to ultimately construct his/her own version. These 14 parts are gradually shared on Pinterest, Twitter and the portfolio site on a daily basis, up to the point of the monuments completion. 

Followers may choose to participate and apply the provided daily instructions (tutorial) to build their own version and can ultimately choose to disseminate their monument (with no agenda) through sharing it on Twitter/Pinterest, allowing it to be planted by other users and thereby slowly expanding its futile presence.

The progress can also be observed in an automatic pop up window which appears when visiting the my portfolio site The virtual monument ultimately occupies the user’s desktop space through its automatic pop-up appearance, resembling the manner in which internet spam high-jacks a user’s navigated web experience, yet with no real purpose.

Finally, once the monument is complete in its full virtual form and ready to inhabit the web like any other image that may or may not be shared, it lives out its non-agenda and continues to assert its presence, or quietly continues to occupy its inactive corner in the web.



In order to have the desired experience, please allow pop-ups for this site when prompted by your browser and only view on desktop computer.



Maaike Bakker used an ‘own site’ to construct and build an online monument for the viewer. Her residency used html pop-ups to populate the screen of the viewer with geometric images and instructions, progressively each day building up the monument. Similarly, to Bristow and Orecchia, Bakker set additional constraints for herself. She starts by giving herself instructions on how to draw a monument then breaks them down into daily actions. She provides co-ordinates, dimensions, and variables. Bakker’s constraints aid in further establishing her own production and progression through the residency. It is controlled and measured, what the moments look like and where the pop ups are placed, progressively exploring the process of digitally drawing. An interesting relationship starts to form between Bristow, Orecchia, and Bakker’s method or curating, the artist as programmer and designer.

To view the Post-Digital 2014 II, click here.