swarming into a storm of fragments
each uniquemoiré of an unknown oasis
liquid that burns and erupts from thousands of holes
scorches the surface, leaves a shadow
and evaporates into
sand, dust, steam
that gets carried away by the dusky clouds rolling into the night
in the split second of brightness
it reveals the strange heart of neurons
as it twists in creation
the constant stream populates the container
flooding the surface
blind yet full of conviction
in a whirlpool of crystals, each faceted to reflect the other
carries a message through the material
holds a secret
perhaps screening a horrifying wholeness
lines leave nothing behind
points leave no trace
what is left is a stain
shielding the struggle within
and then it all vanishes into gloom
Frames, Lines, Horizons.
In Front of Lines that Leave Nothing Behind:
“The space is thought into them by the observer, not projected out of them by the draughtsman."
Who is the drawing for? I become both the draughtsman and the detective, wrestling with the machine (either human or artificial) to compose on a surface. The computer cannot see; I become the eyes of the machine.
Depth, illusions, errors, edges, corners, beginnings and ends, combine on layers and iterations of a design for a border crossing/ toll station. Each drawing exists independently and is interpreted through constructs created with various media in multiple realities (physical space, 3D model space, 2D render and photo space).
In addition, narratives relating to Siegfried Kracauer’s detective novel, Jacques Lacan’s mirror stage, displacement and crimescapes are evolving throughout the iterations. My transformation from draughtsman to detective can be traced through the iterations, which is part of my conversation with the computed outputs.
Achieving ambiguity through precise means, the use of logics such as computation to create complex, unknown and mysterious compositions within an architectural construct. The border is where logics break down, values collide, and the strange emerge from the distinct.