Texas A&M University
directors: Bruno JURICIC, Gabriel ESQUIVEL, & Stephen CAFFEY.
suckerPUNCH: Describe your project.
Ricardo GONZALEZ, Steven HEWETT, & Belinda WOOD: This project developed around an investigation into Giovanni Battista Piranesi’s Campo Marzio Dell’Antica Roma, and at a deeper level, an epistemological attempt at understanding objects and their qualities.
As we know within Piranesi’s Campo Marzio, figure to figure relationships exist between objects from different time periods and different physical locations. This fanciful display of the posture of objects was clearly made possible through a complex epistemological understanding of the qualities of these objects. The work presented here then can best be described as an attempt to understand epistemologically the qualities of objects which, very much like Billy Pilgrim in Slaughterhouse-Five, have come “unstuck in time.”
The geometry of the objects themselves is characterized as a raw quality. At first glance there seems to be a relatively clear, one to one, understanding of the objects geometry. In rendering, these raw qualities take on a certain ephemerality. While base geometry appears inherently obvious within the objects, by virtue of the rendering machine we are only afforded certain glimpses of edge conditions and facial features while others are masked in shadow. Geometric comprehension is blurred and in these moments it seems easy to question the objects finitude.
When understanding of raw low polygon object gives way to an understanding of turbulent linework object, one begins to notice qualities in excess of what these objects are. They are raw low polygon objects, but they are also not raw low polygon objects. There is something more; some quality hiding behind a thin veil lying at a deeper level of comprehension and having more to say about loose geometries and potential postures. These are qualities we consider synthetic.
Turbulence is characterized as a synthetic quality, and posture it seems reacts to the degree with which each object exhibits such turbulence. Objects exhibiting much higher levels of turbulence appear much more strung out, even bordering erratic and resulting in an object which Deleuze might describe as exhausted. Geometry in moments yields to a posture of bundled looseness as facial features swirl, and certain edge conditions cease to exist at all.
The ground object shares in this quality of turbulence, and in turn this quality seems to call into question its solidity, rigidity and materiality. Geometry is again plasticized as qualities of motion, flow, and duration, evidenced in the clearly “vortexual” nature of the ground itself, serve to allow for the self-declaration of its own objecthood. Finally, as Charybdis attempts to swallow these newfound objects of interest, traditional two dimensional notions of figure to figure give way to much more complex figure to figure to figure relationships.
sP: What or who influenced this project?
RG, SH, & BW: Gabriel Esquivel; Bruno Juricic; Graham Harman; Jeffrey Kipnis; Michael Young; Gilles Deleuze; Jason Payne; and Tony Smith.
sP: What were you reading/listening to/watching while developing this project?
RG, SH, & BW: Reading: Ben Woodard, On an Ungrounded Earth; Gilles Deleuze, “The Exhausted”; Kurt Vonnegut Jr., Slaughterhouse-Five. Listening to: The Talking Heads; The Radio Dept.; Minus the Bear; Wax Tailor; and Childish Gambino. Watching: True Detective and the films of Wes Anderson, David Lynch, and Jim Jarmusch.
sP: Whose work is currently on your radar?
RG, SH, & BW: Gilles Retsin; Isaie Bloch / Eragatory; Roland Snooks and Kokkugia; and Daniel Widrig.
Additional credits and links:
Special thanks to Stephen Caffey, Marcelo Spina, Gilles Retsin, Kory Bieg, and Ferda Kolatan for their wise words and benevolent judgement.