The ur-technique underlying the work is the liberation of texture from its environment, of energy-flux from contoured form.’Īlembic II, Chrominance is a post-anthropocene ecocide narrative. The videos resemble equivalents of audio production effects like flanging, phasing, ghosting, filtering.
Simon Reynolds wrote in his essay Seeing the Beat: Retinal Intensities in Electronic Music Videos: ‘0rphan Drift represent dissolving, ego-melting, boundary-hemorrhaging femininity. Here, the opposite of crystallization and glassy immobility defines the end (or the new beginning): untrammeled autonomous proliferation.’Ġrphan Drift was part of the experimental media art phenomenon in the 1990’s and You It’s Eyes 94-13, revisiting our experimental videos from the 1990’s, was commissioned for CTM 2013 (also catalogued in the KRH collection). The material landscape and its currents, the dark and vibrant matters, themselves become active agents in our habitats. But in either case, the landscape (which is to say, the dynamically networked communication currents in matter itself) is an actor, and no longer simply a passive backdrop to the accumulation and interaction of objects. Such approaches may be based on trust or shadowed by apocalyptic forebodings.
People are investigating the autopoetic network culture of trash or human dependency on non-human communication clusters. The concept of landscape is gaining a new dimension. ‘Xeno-communications: Communication or data traffic based on the plane of being opened (by) instead of being open (to). The most important publication for this work was Reza Negarastani and Mark Fisher’s article Trash/Streams (Wasteland) in CTM 2012 Spectral: Contemporary women artists were invited to propose a work responding to specific texts in the collection. Gallery Kathy Ray Huffman experimental video catalogue collection commission. Miasma was made with ACE support for Alembic, the Res.
Single Screen HD video by Maggie Roberts aka Mer.
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