At first, I established a conceptual layout of my thought in a diagram. It was heavily influenced by the readings proposed in the program. Hegel got me good, but this hyper-plasticity potential really opened a strong potential for aesthetical deployment.
The Disconnection Thesis of Roden had me think about the invention of perspective. A true invention of virtual space in the own ontological space of the picture. Flatland made volumetric, in its own terms. Consequently, many philosophical inquiries pointed to an epigenetic system of dualistic nature. « Xenophiliac » coined the best way to express
a vector in which I would encompass the essence of the research.
During the laying down of the project from my artistic matrix, I’ve operated an intuition and made constituent intrusive thoughts to complement the thought process. At that point, a bi-dimensional graphical plan appeal to liveliness. While adding trees and grasses, the diagram layout made itself visible into a space open to visitors. I’ve investigated it within the already ongoing gardening activity. Thus, a conceptual architecture became a prism to spatialize bidimensional layouts.
This prospect of subversion, therefore, engendered a demand for similarity among its neighbours. Therefore, this swimming pool and garden space thus constituted itself in monumental architecture through which a dimension of circumvention, of three-dimensional ventilation, invited the imagination to bear witness to the complementary structure.
As it is entertained in the creative framework of personal art, the artistic matrix operates boundlessly over the life of the creator. As such the newly discovered garden engaged the diagram works of the participant QUASSINE and Simin Azarpour to deploy a monumental facade, engaging both conceptual frameworks in a spatial construct.
Then formalized as a graspable space, it found reciprocal continuity in the stereotypical pool of a cruise boat aboard the DxCOLONIZER, a salvaged french Lorraine-class battlecruiser.
With the use of hypertextuality theory and more specifically transfictionality, both the conceptual matrix of the ongoing posthuman research lab and the also an ongoing private metaverse project called Fata Morgana found liaison within the artistic matrix. As both projects develop over time, the structure of both as much as Princess Institunia's body is altered by structural objects encountered along the way.
As of now, the diagram structure has become an intuition funnelling device splitting the creative activity into 4 meta-object. They are contained in ogive shapes that refer to material canvases and will result in a painting process parallel to the initial research vector. When completed, they plan to reconnect within a macroscopic structure name TETRAHYPERMECHATRON, thus explicitly a compositional process of subsequent deployment of intuition and regathering of the emitted inquiry. This action of expansion and retraction is aimed to animate a deeper level of the matrix, rendering it able to continue onward.
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