- Alex Reifenrath / Marzanna Drowning
The Flood (Logorrhea)
Updated: Jul 4, 2022
Nymph Infested With Empress, Baphomet, and Watchers / Nymph Infested With High Priestess, Janus, Sage, Dance, and Water Carrier / Nymph Infested With Fall, Fool, Heart, Rebus, Subtle Body, and Mystical Marriage. (Details).
The sea becomes interchangeable with flame in the seething mire that first forged life. Communication here does not yet repress its nature. Recursively amplifying shockwaves ripple freely across the unprotected intercourse of pollution. Swelling backwards from fate, an ambient semiotics tracks the consistency with which environments transmit signals to the agents they involve. It is inevitably through signs such as omens, geofacts, or archetypes that something is communicated that is unspeakable — its very utterance unmasking the undead nature of the world as tragic protagonist: reaching out to the audience despite having already received its extinction outside the narrative of space and time through which everything is being relayed. To decrypt the signal is to melt into its source and find there that the cosmos has always been fundamentally uninhabitable.
Miasmatic vents expel the artist as a clinical profile: site of a violent wasting disease that periodically replicates the stillbirth its world drifts up from with ever more catastrophic intensity. 3DCGI assembles itself as the consummate apocalyptic art. Latching onto the essentially doomed tradition of eschatonic prophecy, rendering software indicates that the reality of identity is its abolition in death by incarnating a coincidence between the act of producing a virtual world and the thermal digestion of the substrate upon which this occurs.
A space is generated by crystalline precipitations mirroring mismatched axes to each other. No sooner than the repetition inherent to this process is apprehended as abstract memory, it gets ambushed by an innate drive of divine amnesia. The desert of the real is within you. At the vanishing point of perspective, it operates as an interface between the world and that which cannot be as long as it endures. Dead center in the coordinate system, an imperceptible crossing leaks into the pure loss of real zero. Frames contort and elements separated by gulfs of difference enter into the knowledge of one another. As above the grotesquerie of seeping bodies is translated to entire worlds entering into superfluity, so below there is the flood myth touching intimately upon purification rites. Images of water burn into the retina to impart messages of personal death and the end of the world. Polypous efflorescences sprout from the putrid pools of the ocean to compose the pre-human origin of surrealism not only in style, but also in the perfection of unconscious productivity. Among the reefs, sirens howl in ways that make loss attractive against any security system’s better judgement and the anatomy of nymphs marries avatars of the draconian and angelic types.
The embedding space for The Flood (Logorrhea) at New Art City is a specifically designed edifice influenced by the image of downward spirals, labyrinths, pharaonic tombs, deep sea trenches, the Tunnels of Set, the Uncanny Valley, architecturally repressed arterial systems of ducts that facilitate the corruption of vertically articulated space, hydrothermal vents, and motorcycle cases.