The dynamic assemblage within Complex Structures creates a potential energy within the static artwork. The sequence, or multiplicities are part of the same organ (03.2004A). What begins (and ends) with the cartographer mapping the real world is translated/transformed within the process of construction, deconstruction, then reconstruction. Now we have these intense hallucinogenic explosions, mutating, colliding and shattering.
Within this intensity though, there exists no past, and no future, only an omnipotent present. The irrational space fragmented by the loss of temporal continuity generates a schizophrenic disjuncture; an overwhelming kaleidoscope of abstract forms. The breakdown in the signifying chain compresses the geometric textuality, releasing a techno-tectonic euphoria. Hooray! The inhabitants of Flatland are finally free to speak the language of plurality, where once they could only dream of another dimension.
Image above: Justin Andrews
PROJECT ROOM Untitled Victoria O'Sullivan
The objects Auckland artist Victoria O'Sullivan will exhibit in the project room at MOP possess a temporality, which oscillates between the intimate and the local and the infinite and the galactic. Bonsai trees, synthetic crystals grown by kitchen chemistry kits, and an Apollo XIV Moon Sycamore seed contained in resin.
OSullivans projects often come about through exploiting the possibilities presented by the phenomenon of e-business. They also come about through the investigation of different registers of time, including, to use Robert Smithsons words, in his 1966 essay Entropy and the New Monuments; many types of stillness: delayed action, inadequate energy, general slowness, an all over sluggishness .
One of the objects to be shown at MOP is a second-generation Apollo XIV Moon Sycamore seed inside a resin block. An e-business company based in Florida delivered the tiny seed, one of six, to the artist in Auckland.
The seeds are related to ones which were taken to the moon, by astronaut Stuart Roosa, on board Apollo XIV, in 1971, as part of an experiment to see if the seeds would propagate after exposure to the moon's atmosphere.
The seeds, initially detained by New Zealand customs, as a potential bio security hazard, risk no such possibility in Sydney, now safely suspended between two layers of resin, its manifestation as one of the giant American redwoods is perpetually deferred. O'Sullivan presents it as just another seed, its genealogical derivation invisible.
With the distribution of the original seeds throughout the United States, as commemorative trees, came certain unruliness to their presence in the world. NASA and the United States Forestry Service have since lost track of the whereabouts of many of the trees, and operate a web site allowing people to inform them, should they come across one? O'Sullivan is intrigued by the fact that the trees fall outside the scrutinising radar of such an omnipotent administration like NASA.
Actual crystals from NASA's protein crystal growth experiments