oh, what grand megastructures shining beacons of modernity fade swiftly into naivety, they were never meant to exist to begin with, their ruins will never crumble under the dying sun, only paperclipped documents and dusty binders contain collective delusion, consider instead: software serfdom antivirus wheat field accelerated vassalage, content is generated from the past as the future empties out

MATHIAS WESTBROOK

A Timeline Made Flesh

2022
Works of mine from self-organised duo-show with Pernille Emilia Kjær.
At 'Udstillingsstedet Q'


Internal Logic (2022) inkjet on paper, perspex

Original press release:

A black graph coils itself around a manufactured grid of mycelium. A pool of synthetic primordial fluid drips from metallic limbs. A slouched creature, of indiscernible shape, emerges from the deep. Its eyes sluggishly adapt to the dry, lush panorama, perceiving a handful of pixels at a time.

A timeline made flesh is a constructed microcosmos, portrayed and conveyed through a production of artifacts and beings, that are neither exponentially improving nor hierarchical. Machine-made materials and shapes form an interchangeable symbiosis with the organic and the living. A dialog with a man-made reality represented by gridlocked taxonomy, flat diagrams and a linear understanding of time. In its place, a world is conceived, inhabited by autonomous entities, wherein technology and biology become modular, abstract concepts. The timeline dissolves, becomes the fool. Liquids and solid structures. Vibrations between graphs on the z-axis.

The duo-show by Mathias Westbrook (stud. Royal Danish Academy of Fine Arts) and Pernille Emilia Kjær (stud. Malmö Art Academy), seeks to create a collaborative reality across two individual artistic practices. Influences range from Cronenberg, Haraway and Lovecraft to various models within the history of technology. The exhibition came into being as a materialization of an ongoing dialogue, surrounding topics such as non-linearity, sci-fi, evolution and worldbuilding.


Lobe-finned Fish (2022) 115x45x15 cm. Plaster, metal mesh, sackcloth, inkjet on paper, epoxy.

Sculpture resembling the evolutionary stage between fish and arthropod (Sarcopterygii). Constructed with plaster and mesh framework, covered with a layer of epoxy. Plastered with collage of printed cut-outs; 3D renderings, GAN generated images, real life animal scales and scientific diagrams.



Cambrian Body Hack (2022) 22x10x9 cm. PLA 3D print, spray paint, 2x16 LCD display, ATmega328 microcontroller board, electronic components.

The LCD screen displays real time randomized strings of selected words and custom symbols. Programmed onto an arduino clone.



Mainframe Nestings (2022) Plaster, metal mesh, sackcloth, disassembled PC-monitor, spraypaint, inkjet on paper, epoxy


Filling A Vessel With Primordial Soup (2022), Video, sound, [3 min. 41 sec.] installation view.