DEAD RECKONING (2008)
(top) Concrete coated with black flocking and with a radio buried inside.
The concrete slab was made as part of the project Dead Frequency.
(bottom) Stained and varnished wood box coated with earth and airbrushed with UV sensitive acrylic. Inside the box a subwoofer connected to an mp3 player sporadically rumbles out the sounds of a deep ocean tremor.
Dead Reckoning was installed inside a shipping container attached to Sandroni Rey Gallery. The interior of the space was reshaped and lined entirely with plywood that had been partially sprayed with UV sensitive acrylic.
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I had once read that a strategy of the USSR for containing the Chernobyl nuclear radiation leak was to fill it with a mixture of concrete and steel. The machines energy theoretically contained for a century, its seepage slowed by the concrete. To me this filtration was somehow a slowing of time; a natural element suspended in a slow motion frame by frame deceleration of its natural life, all the while existing in a naturally sped universe. This same energy slowly distorting as it loses data filtered by the concrete, data that abstracts more and more as it slowly seeps its way to the edges of the concrete filter.
More recently, I heard a digital recording of a deepwater seismic event. The sound brought me again to this idea of seepage. Energy or information slowly seeping though this terrestrial filter, distorting and reconfiguring as it soaks through each geological layer. This data reinterpreted and reconfigured once again as it reaches and filters in and through human bodies. The project “Dead Reckoning” began with these notions in mind.
The concrete slab was made as part of the project Dead Frequency.
(bottom) Stained and varnished wood box coated with earth and airbrushed with UV sensitive acrylic. Inside the box a subwoofer connected to an mp3 player sporadically rumbles out the sounds of a deep ocean tremor.
Dead Reckoning was installed inside a shipping container attached to Sandroni Rey Gallery. The interior of the space was reshaped and lined entirely with plywood that had been partially sprayed with UV sensitive acrylic.
---
I had once read that a strategy of the USSR for containing the Chernobyl nuclear radiation leak was to fill it with a mixture of concrete and steel. The machines energy theoretically contained for a century, its seepage slowed by the concrete. To me this filtration was somehow a slowing of time; a natural element suspended in a slow motion frame by frame deceleration of its natural life, all the while existing in a naturally sped universe. This same energy slowly distorting as it loses data filtered by the concrete, data that abstracts more and more as it slowly seeps its way to the edges of the concrete filter.
More recently, I heard a digital recording of a deepwater seismic event. The sound brought me again to this idea of seepage. Energy or information slowly seeping though this terrestrial filter, distorting and reconfiguring as it soaks through each geological layer. This data reinterpreted and reconfigured once again as it reaches and filters in and through human bodies. The project “Dead Reckoning” began with these notions in mind.
