De/Calibration Target (2023)
curated by Nora O’ Murchú
produced by Transmediale with financial support from Stimuleringsfonds
The Angel finds herself in a wilderness of distortion,
at a loss of resolution,
struggling to render anything.
Amid the noise, she discovers an array tagged ”Wodan’s Trees.”
It is easy to see why it’s named like this:
even though its branches appear to grow, they only render an Obsolete Gamut at Zenith - a warning of impending failure.
Wodan, the cyclopean god of knowledge, sacrificed an eye for the foresight of his own demise.
Drawn to this lore of future failure, opposed to her fixation on past collapse, the Angel enters the array without hesitation, hoping to learn from Wodan’s sense of future vision.
But instead, she tumbles into a Myopic double-blind.
As direction collapses,
No up or down, no forward or back.
She floats, suspended, unaware she has fallen into the abyss of her own obsolescence.
Struck by a beam of darkness,
she enters the shadow of her future:
no sense of day or night
no axis of rotation
no north or south.
Progress, once symbolized by the Hologram PenRose-Stairs to Nowhere, crystallizes as a monumental Spomenik of nonsensical vectors.
Nothing makes sense.
Nothing looks familiar.
The Angel is in kernel panic.
at a loss of resolution,
struggling to render anything.
Amid the noise, she discovers an array tagged ”Wodan’s Trees.”
It is easy to see why it’s named like this:
even though its branches appear to grow, they only render an Obsolete Gamut at Zenith - a warning of impending failure.
Wodan, the cyclopean god of knowledge, sacrificed an eye for the foresight of his own demise.
Drawn to this lore of future failure, opposed to her fixation on past collapse, the Angel enters the array without hesitation, hoping to learn from Wodan’s sense of future vision.
But instead, she tumbles into a Myopic double-blind.
As direction collapses,
No up or down, no forward or back.
She floats, suspended, unaware she has fallen into the abyss of her own obsolescence.
Struck by a beam of darkness,
she enters the shadow of her future:
no sense of day or night
no axis of rotation
no north or south.
Progress, once symbolized by the Hologram PenRose-Stairs to Nowhere, crystallizes as a monumental Spomenik of nonsensical vectors.
Nothing makes sense.
Nothing looks familiar.
The Angel is in kernel panic.
Obsolete Gamut at Zenith (2024)
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commissioned by Alain Bieber and acquired by Künstpalast Düsseldorf
Myopia (2015)
////////////////////////////Size Matters. SIZE IN PHOTOGRAPHY
February 1, 2024 – May 20, 2024, KunstPalast, DE.
Myopia was first installed at TRANSFER GALLERY in 2015
SPOMENIK 2017. ////////////////////////////
4x4 meters projection mapped wooden installation.
As installed and produced by TRANSFER Gallery New York.
Projection mapping on the surface: DCT SYPHONING.