Jasmine Rogers

‘Good Tele’ (2025) is a multimedia project that investigates the screen as a vessel for overconsumption in the digital age. It explores themes of consumerism, the current political landscape, and the growing dissociation from reality stimulated by our virtual environments.

Using myself as the subject, I embody various stereotypes and archetypes through styling, makeup, and body language, transforming into characters that reflect the exaggerated clichés of fictional digital personas. The saturated studio space allowed me to create glossy, idealised stereotypes of women for the screen, using lighting and colourful backdrops to enhance this concept. This performative aspect draws influence from artists such as Rachel Maclean and Candice Breitz, whose use of the camera to express satirical and critical perspectives on Western capitalist society has shaped my approach. There is also a subconscious influence from renowned artists Juno Calypso and Cindy Sherman, both of whom use self-portraiture to critically examine identity and constructed femininity. I also incorporated elements from my family archive into the creation of advertisements and moving image content, reinforcing the fusion of real life and fiction whilst expanding the catalogue of imagery at my disposal.

Graphic design became a crucial element in the project’s development, particularly as the work transitioned into a printed TV guide. Drawing inspiration from existing TV guides, retro advertisements, and contemporary television, I crafted a visual language that blurs the boundary between reality and fiction, featuring both real-world shows and personalities alongside entirely fabricated ones. The accompanying video is designed to evoke a sense of overstimulation, reflecting the overwhelming nature of modern media. By immersing the viewer in fast-paced, layered content, the piece mirrors the exhausting experience of endlessly scrolling through digital feeds. I chose to present the work both digitally and in print to encourage viewers to linger on the finer details that might otherwise be lost in the rapid pace of video consumption.

I imagine my images existing in spaces that feel both familiar and uncanny, such as a glossy magazine left open on a coffee table, or as looping visuals on a television screen. They are intended to sit at the intersection of nostalgia and discomfort, prompting viewers to reconsider their passive relationship with the media they consume. Ultimately, Good Tele seeks to challenge the normalization of media saturation and invite reflection on the sheer volume of content we absorb each day. The blending of real-life imagery with a fictional world also highlights a collective desensitisation to world news, shaped by the overwhelming flow of information we consume daily through a screen.