In 1998, when I started
working on real objects,
(which were completed to a great extent,
but later were lost
in unexplained circumstances),
it did not even cross my mind
that I would be given the opportunity
to complete this project
in virtual reality.
As it turned out,
my radical concept
of “Mechanical Theater”
is uniquely
suitable for taking up
precisely
a digital form.
On the one hand,
this is facilitated
by its machine-oriented technicality,
and on the other hand
– by the minimized
role of the actor.
In addition,
the proposals
I have articulated:
– to build a model of machinery
with all
dependencies
of its components,
– fine-tuning them
into a completed work of art,
– meticulous attention
to every detail of the presentation,
– but above all;
freezing the pattern
in time
so it’s ready to be repeated
as an exact replica
of the prototype,
having gained in the virtual version
not only
full justification,
strength of expression,
but even
a different,
deeper
meaning.
My idea of a performance
beyond time,
because it is now embedded
in the web,
actually places it
in an imaginary dimension:
now – anytime – always.
Moreover,
such access
reveals yet another aspect
beyond spatial dimensions,
which I would describe as
coming from everywhere.
However,
what impresses me most
about this project
is the image intensity
of the generated
objects.
Their
expressive texture,
juicy detail,
illusory spatiality,
creates a “hyper-real world”
striking in its suggestiveness,
fullness of expression,
but also with moodiness.
All this
seems to be
in contradiction
with the genesis of its creation,
which can be described
with only one word
– artificiality.
But after all
the same concept
stands even behind the most
illusory masterpieces of
painting,
drawing,
graphics
or sculpture.
What’s more,
it even hides in the term
that merges all these fields
that is
– Art.
Otherwise,
the implementation of this performance
by means of a digital medium
definitively incorporates theater
into the realm of visual arts
– which, after all,
was also my credo.
However, and this should be strongly emphasized
– the mobile model of “Last Fugue”
in the digital dimension
exists and functions
as real.
