April 10, 2017, Article from Lenscratch
"It is a little odd that in a time when we are more connected than ever that we should feel a lingering sense of isolation and alienation. Perhaps it’s that our connections are no longer personal and tactile as we hide behind our screens, turning away from what we can actually see, touch, and smell. That alienation has made humans want to connect in new ways and virtual reality of one of them. The new realities created in video games are becoming more layered and real and that landscape is what Morten Rockford Ravn is mining with his new project"
Excerpt from Lenscratch, ENTER FEAR AND LOATHING IN GTA V
Feb 28, 2017, 2½ Minutes to Midnight
Pictures from my latest vernissage, held in an old industrial building I partially transformed for the purpose.
Dec 7, 2016, Article from Digital America
"Using in-game technology, Ravn roams San Andreas and produces beautiful, haunting, gritty street photography in the vein of French photographer Henri Cartier-Bresson, whose work — like Ravn’s — captured the very emotional depths of poverty, of loss, of alienation, pain, and suffering among people who would have never been featured in mainstream photography.
Here, too, we see that pain and suffering. We see the homeless drifter, the lonely prostitute — who might otherwise be objectified in gameplay as opposed to humanized — and the migrant laborers who have been so vilified in the real America on which the game is based. Ravn explores these characters while also exploring the dichotomy between dark and light, perhaps another rebuke to monochromatic notions of what America and the “American Dream” really mean."
Nov 23, 2016, Article from The Creators Project
“If we were living in a simulation, would we know? Sometimes it’s a comforting thought that all this might be fiction; sometimes it’s jarring. That’s the premise behind Morten Rockford Ravn’s latest work.
Rockford Ravn has explored the intersection of tech and consciousness before, like in his Fear and Loathing in GTA V project. But the simulation project tackles a new challenge: if we can’t tell reality from fiction, then what is reality in the first place?”