If you're around NYC, The @objktcom Pop-up Show with @unfoldhere is happening next Wednesday, the 26th, during NFT NYC. 'Les couleurs de ma mélancolie' will be among the pieces selected by the objkt curators. And if you’ve got some spare tezzies and want a copy, there are still 8 out of 10 available here, uncut 4k with music and stuff: https://objkt.com/tokens/KT1KXqoLtPVhwPccfzmmysPq8S5VBP3xj6rF/15
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A small WIP of a fragment for a piece I'm working on. Everything is 3D geometry in the form of a pin screen, with no post-production and using the original sound. A bit of context for the original source material: Nov 22, 1987. Chicago. Doctor Who is airing. Suddenly, the screen melts into noise. A man in a Max Headroom mask appears. He mutters gibberish, mocks Coca-Cola, moans, then bends over to be spanked with a flyswatter. The station can’t stop it. The signal was overtaken using DIY tech, bypassing pro-level systems. No clear message, just chaos, distortion, and VHS noise. 35+ years later, the Max Headroom incident remains one of the eeriest unsolved moments in TV history.
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I rarely talk about what’s behind my work. it’s more comfortable to let it speak for itself or simply say nothing. So, I’m going to take a risk and start a series of casts called "What the Hell Was I Thinking When I Created This Animation?" 😅 "Interzone" 🔊 is a small reflection of one of my favorite scifi novels and the nightmare of any psychologist: 'Solaris' by Stanislaw Lem, adapted into film twice: the masterful version by Andrei Tarkovsky and the underrated more recent version by Steven Soderbergh. In a way, the flow beneath the bridge in "Interzone" is meant to evoke the conscious ocean of Solaris, as a form of collective mind accompanying humans who cross the bridge together, all walking in the same direction. This is how we grow, how we progress as a species. As a counterpoint to the current trend toward individualism, where only I, my own satisfaction, and the immediate present matter.
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