Nature is a temple where living pillars
Let sometimes emerge confused words;
Man crosses it through forests of symbols
Which watch him with intimate eyes.
Like those deep echoes that meet from afar
In a dark and profound harmony,
As vast as night and clarity…
[trans. G. Wagner, Selected Poems of Charles Baudelaire 1974]
The Allure of the Seas is a looping animation where the graphic montage anticipates yet denies the subsequent abstraction or narrative engagement. Diagonal lines force a destabilization of the image in a fragmentation of space. The synthetic nature of the reassemblage where the image fragments are canceled yet legibly preserved in a rearticulation in a continuous loop of negation and affirmation as the conscious act of the artist’s composition and the free-play in the viewer’s experience of the artwork creates an interval between the representation and creative metamorphosis.
The viewer is able to recognize the elements of luxury ships as well as the illogical placement of items in an impossible kaleidoscope of a reassembled images of continuous passage. Luxury ships are the excess of a post-capitalist society and the self-contained utopias. The reanimation of images evokes an aesthetic and epistemic experience between paradigms of sublimity and contractility which brings about a new conception of aggravated deterritorialization through pulsations and spasms both visual, auditory, and conceptual.
Sound art with multiple layers of continuous notes creating a sonic mirror of the visual form of a ship that is emerging and sinking onto itself. Like the news media images of tsunami disasters in recent history where impossible images of objects (cars, trucks, houses, etc.) are smashed together through the natural disaster, The Allure of the Seas, in its siren song presents a memorialization of unassimilable stimuli that produce both memory and amnesia exposing the failure to translate sense-impressions. His work attempts to articulate such moments of mute encounter that evoke sublimity that eludes the rational and evoke imagination. The ambiguous relationship with the material world as presented here creates a dynamic, contextually contingent, and intextually serial structuring of visual information that is implicit within it that emphasize the open form and potentiality of radical reconstitution of historical time.