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All objects, commercial creatures, or manufactured mechanisms are connected. Between what is bought or stolen, flown or born, is a space, an internal architecture of moving structures and living depths. Between Treacherous Objects builds these connecting tissues via interactive, nearly three-dimensional net spaces. Exploration of those digital distances yields propaganda and secrets, spatial poetics in lines, and brimming shapes. A culture of the flat screen built to mouse swim inside.
There is an expectation of flatness on the web, of slight depths and leaping hypertexts. A link is the link for trees, branching connections between ideas. Between Treacherous Objects exists within the monitor, holds the user to flying or avoidance, and creates a community of deep architectures. These structures are meant to be alive to attach ideas as objects together. And without the user’s movement, the artwork disappears into itself, a falling tissue, the torn tendons ofimage semantics.
The titles, with their Broadway pronouncements, create a pageantry, small billboards announcing the obvious and the vaguely associated. And once the user uncovers these internal architectures--these consumer forms--they can reveal more movement in videos, accessible with a password. These superimposed clips are an additional layer to the consumerisms that tie Western culture. They are fifties propaganda created to control and admire, to teach the need to not learn beyond the message. Similarly, one cannot uncover specific connections between these culturally powerful matters, items, and ideas. Connecting these objects is a subconscious and ephemeral notion, one that must be felt through the mouse.
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