Alex Reifenrath / Marzanna Drowning: Most persistently, I’m actually a musician, coming out of the mid-‘10s lo-fi scene scattered all over various blogs and bandcamps, but having eventually found my way into so-called “deconstructed” club. This shift also coincides with my first writing prose in the context of my bachelor’s in art history (focusing on Gothic style in the digital arts) and the emergence of my interest in the posthuman and CGI. Most recently, I’ve been intermittently plunging into 3D modeling, which I’m mainly attracted to as a pioneering spatial art that is abstracted from the well established solidity of architecture.
‘The Flood (Logorrhea)’: a series of digitally rendered scenes in the tradition of apocalyptic art. The impetus is to bridge the, only ever more pressing, notion of the abject from its common domain of deformed bodies dissolving into fluids to the structural collapse of entire worlds. Based foremost on a parasitic pact between my computational resources and I to conjointly become a noxious discharge of heat without social utility, ‘Dungeon Crawler’ is a machine-nihilistic mission that aims to consummate our reality as both ultimately reducible to convoluted forms of energetic decay. The guiding tactics is one of materialism, which is interpreted as a signaletic wasting disease: a disability to inhibit the murmuring flow of signs that the artist is dislocated within, and which burrows ever further into the cosmic substrate to create increasingly labyrinthine new realities to discard. Bound to this communion, whose expression is intercourse with all kinds of geophysic scratchings and machinic smears, is a martial liquidation of the human body – figures lapsing into shadow to produce a death of the author that is not pristine disappearance, but rather a productive rotting of the embodied subject into the abominable fertility of procedural noise.