Sometimes the online world reveals unsuspected parallel dimensions. This is an unknown restyle of Neural independently (and secretly as we never knew about it) made by NY-based Motion and Graphic Designer, Clarke Blackham. Very nicely made, perhaps only a bit glossier for the magazine’s line, it testifies once more how even your most familiar outcomes can have another life somewhere else.
Zimoun is known for his multiform artworks and installations created from commonplace industrial objects that explore array aesthetics combined with rhythmic sound. His most recent work, 60 Medical Infusion Sets, Water, Fire, Metal Sheets, consists of a room containing medical drip sets each of which drops water onto heated metal sheets. On contact with the metal the water is instantaneously transformed into small jets of steam. The moment of union is marked by a crisp hiss as the water is vaporised by extreme heat. Over a period of time the metal sheets become oxidised and act as canvases documenting the slow chemical transformation of metal as rust formations accumulate. The dripping processes emerge by virtue of the properties of fluid flow so that the rhythmic patterns of the water dripping phase between randomness and order. Whereas the rhythmic sonic events in Zimoun’s previous works, such as 198 prepared dc-motors, wire isolated, cardboard boxes 30x30x8cm, were extremely dense, created by multiple non-synchronous sound-emitting motors, this new work proposes a more meditative situation with respect to sound. Here, time is perceived to have slowed – the silent intervals act as strong counterpoints to the infrequent vaporisations. Each vaporisation draws our eye to its respective metal sheet generating a specific spatial awareness of the array within the installation. Including elements such as water and fire in the title only goes to reinforce the alchemical intimations of the work. An extremely simple, taken-for-granted reaction between water and fire is represented as a primal elemental transmutation and recorded as irregular concentric patterns of accreted oxide on the metal surface. This piece, as with all of Zimoun’s work, relies on clinical aesthetics where multiple objects are spatially ordered while being precisely situated. These ‘architecturally-minded platforms of sound’ propose an array aesthetic that embraces minimalism and maximalism simultaneously.
Zimoun : 60 medical infusion sets, water, fire, metal sheets 20x20x4cm
Zimoun : 198 prepared dc-motors, wire isolated, cardboard boxes 30x30x8cm