Porcelana is a wall-mounted multi-faceted piece comprising of multiple layers of different types of 3D ceramic tiles.
The sculpture is illuminated through the use of black and white animated geometric patterns that oscillate and shift over the multiple extrusions of tiles, further extending their overall dimensionality and relief. These animations alter from being 2D to 3D and from chaotic to structured creating a dimensional interplay that enhances the sculpture, giving it an indistinguishable enigmatic characteristic. In addition, compositions of multiple patterns are projected simultaneously, mapped them to the different tile surfaces allowing for a limitless variety of kaleidoscopic collages.
A sophisticated rhythmic sound work made up of ceramic tile recordings mixed with high fidelity electronica samples is intrinsically linked to the vision, creating a multi-dimensional and multi-sensory synesthetic field of light, sound and form. During it’s production the artists utilised a creative process heavily reliant on cross-referential feedback allowing them to tightly fuse the sonic and visual ingredients into a singular streamlined amalgamation. In effect, it looks like the sound, and sounds like the vision.
When these elements are fused and enhanced through the reflection from the tiles on the surrounding walls, an engaging chimerical environment is produced. The piece aims to conjure a sense of the inexplicable; there are subtle references to the enigmatic religious artworks of ancient cultures yet through the use of modern software processes it paradoxically presents a new form of technological contemporary art that can be dynamically enhanced at will.
The work is a 5-minute looping composition that commences with minimal and definable elemental components and gradually evolves into the sum of its parts, concluding in a rapid and highly complex crescendo. The effect culminates in an abstract meditative experience that allows analytical thought to be effortlessly over-ridden by experiential perception.
Supernova combines and synchronises laser, projection and sound. Within the exhibition space hangs a single glass ball. A laser forms a large cone around the ball which gradually minimise into a single beam. This beam is precisely directed onto the centre of the ball therefore refracting the laser throughout the room. Instantaneously a sub-frequency bass tone is also activated. Precisely mapped to the laser is a projected white circle. This process loops indefinitely.
This work attempts to give a momentary and meditative abstract visual and sonic imprint of the elemental makeup of our environment, the aesthetics of technological synchronisation and the duality and connection of quantum and cosmic space.
When opened, Hala Stulecia was the largest reinforced concrete structure in the world. With a diameter of 65m it was home to the largest dome built since the Pantheon in Rome eighteen centuries earlier.
The piece proposed for the Centennial Hall of Wroclaw is based around the notion of timelessness in architecture, and the idea of what future has meant throughout the 20th century.
Taking the 1910’s as a starting point (the dome was erected in 1913), historical and artistic references were used to reveal the architecture of the space.
By using references such as Fritz Lang’s Metropolis or the utopian projects of Archigram to confront the different visions of the future at different times, Romain Tardy and Thomas Vaquié were interested in trying to create a vision of a future with no precise time reference. A timeless future.
DIRECTED by Romain Tardy & Thomas Vaquié
ARCHITECTURE by Max Berg (1913)
VISUALS by Romain Tardy, Guillaume Cottet
MUSIC composed by Thomas Vaquié
2D / 3D MAPPING by Joanie Lemercier, Romain Tardy
MANAGEMENT & PRODUCTION Nicolas Boritch
Filmed by Jerome Monnot, Joanie Lemercier, Romain Tardy
Edited by Jerome Monnot