Gosia Walton, Laser Erotic, Galerie pact, Paris / December 7th - January 19th, 2017
galerie pact is pleased to announce the first solo exhibition of installation of Gosia Walton. The exhibition, in collaboration with Piotr Kowalski, will be held from December 7th 2016 to January 19th 2017 with an opening reception Wednesday December 7th from 6pm to 9pm. @galeriepact #gosiawalton #galeriepact #paris
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Web: www.galeriepact.com
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EMail: info@galeriepact.com
Web: www.galeriepact.com
: https://www.facebook.com/galeriepact/
EMail: info@galeriepact.com
While the laser dances to and fro across a slick acrylic surface, Gosia Walton watches. Clusters of automated incisions are scored with surgical precision and indefatigable dexterity, compulsively replicating the jumbled syntax of an unfamiliar bionic language.
Housed within a series of aluminium walk-through structures resembling half-constructed stud walls, Gosia's luminous acrylic sheets present semi-transparent surfaces that are flattened depictions of space. Grids, directional arrows, simulations of three-dimensional architecture; all these patterns feel like they are floating in an unreachable virtual realm.
The shapes she asks the laser to etch for her are compiled through a process of corruption. This degenerative relationship between artist and machine is as productive as it is unhealthy. If Gosia is toying with the laser's copper-fibre-silicone mind, she is equally implicated since she is no longer fully autonomous. The surface seduces. The motion of the laser is exhausting and mesmerising. The shapes come to reproduce themselves, replicating across the acrylic's perfect flatness. This surreal feeling of automatic repetition suggests not liberation but compulsion. It is difficult to say who is driven by whom, or what lies beyond the pleasure principle.
If Gosia's complicit relationship with the laser is what drives her to make work, Piotr Kowalski is correct in devising measures to be taken. Her rapidly replicating products will soon surround him, and since she is stimulated by the possibility of technology run amok, she is likely to have the last laugh. Born out of a short-circuiting of the relationship between artist and machine, perhaps her work serves as a means of self-replication for the corrupted digital data, analogous to way a virus self-assembles within a human cell.
Housed within a series of aluminium walk-through structures resembling half-constructed stud walls, Gosia's luminous acrylic sheets present semi-transparent surfaces that are flattened depictions of space. Grids, directional arrows, simulations of three-dimensional architecture; all these patterns feel like they are floating in an unreachable virtual realm.
The shapes she asks the laser to etch for her are compiled through a process of corruption. This degenerative relationship between artist and machine is as productive as it is unhealthy. If Gosia is toying with the laser's copper-fibre-silicone mind, she is equally implicated since she is no longer fully autonomous. The surface seduces. The motion of the laser is exhausting and mesmerising. The shapes come to reproduce themselves, replicating across the acrylic's perfect flatness. This surreal feeling of automatic repetition suggests not liberation but compulsion. It is difficult to say who is driven by whom, or what lies beyond the pleasure principle.
If Gosia's complicit relationship with the laser is what drives her to make work, Piotr Kowalski is correct in devising measures to be taken. Her rapidly replicating products will soon surround him, and since she is stimulated by the possibility of technology run amok, she is likely to have the last laugh. Born out of a short-circuiting of the relationship between artist and machine, perhaps her work serves as a means of self-replication for the corrupted digital data, analogous to way a virus self-assembles within a human cell.