plexiglas, steel, electronics
Collaboration with Nicolas Lapointe
Referencing kinetic, department store window displays, no-fluke/no-feed/no-swim/no-play/no-fun employs the materials and techniques of advertising to reflect on the role of technology in contemporary culture. Anna Eyler and Nicolas Lapointe take an ambivalent position on reality, behaving a bit like amateur archaeologists from an imagined future.
In both form and symbolism, no-fluke/no-feed/no-swim/no-play/no-fun draws on Mannerist painter Jacopo Pontormo’s famous altarpiece, The Deposition from the Cross (1528). Renowned for its bright colours and flat composition, Pontormo’s painting veered away from naturalistic representation, instead employing aesthetic strategies to heighten the emotional and religious content of the scene. Likewise, no-fluke/no-feed/no-swim/no-play/no-fun uses the form, palette, and two-dimensionality of the altarpiece to evoke ideas of the mystical. Rather than adhering to a Christian narrative, however, this work instead questions the relationship between spirituality and technology in a contemporary context.
As the positions of the rocks change from moment to moment--while also varying in speed--they provide a tangible sense of the passage of time. Their movement simultaneously calls forth the shifting of tectonic plates, thereby conflating day-to-day change with a geological sense of time. In so doing, no-fluke/no-feed/no-swim/no-play/no-fun reflects on our impact on the Earth’s geology and ecosystems, offering a poignant yet critical reflection on obsolescence and our material legacy.