"I transformed myself in the zero of form . . . I destroyed the ring of the horizon and escaped from the circle of things, from the horizon-ring that confines the artist and the forms of nature." Malevich (1919).
A black square Emerging in a red space with a woman dressed in white as the centre of the action. This work is inspired by familiars and and mystical geometric works witnessed in numerous constructivist works (i.e., Malevich's series the Black Square (1915) Red Square (1915)... El Lissitzky's punk propaganda posters 'Beat the Whites
with the Red Wedge' (1919)) as a point of departure for a durational performance artwork that generates a series of tableaux via an image web stream uploaded incrementally from my studio for the duration of the exhibition.
The work is consciously a light footprint in the cosmos, not a hi-resolution video stream consuming large amounts of bandwidth.
Alien to the masculine myth of the 'genius' or ‘economic rationalist'. In the Early 20th Century, new art movements like Constructivism contained new tools, nascent styles by artists who wanted to move. The main driver of this art was to create more than just a feeling, but spring a movement of people to imagine the future i.e., artists began to create interesting art without the need to use paint. In 2021, a century later, many people still attempt to decipher to intent of more unruly ambiguous art manifestations. Art and culture is mostly valued in mainly instrumental ways. Notwithstanding technosolutionism that guides many economic, cultural and political problems that liberal, so-called, democracies are facing today.
'The Future Seraphim' is a meditation on more vast -existential conditions – such as love, care and gratitude that movements like Constructivist art exhibited. Throughout the durational performance red, black and white is distributed through a series of tableaux. A woman cryptographer dressed in white is often seated in the centre of the frame writing or solving a puzzle, the colours of these acts create the shapes that form this mystical geometric dance. The composition forms a spiritual movement of geometric forms moving through the picture. A red background depicts a dystopian future (whereas previously a red emphasis depicted the revolution). The miniature black and white geometric shapes embody a more hopeful future. They represent the more scalable life that a Distributed Autonomous Organisation (DAOs) of production and consumption - necessary to move forward in the 21st Century could bring the planet.
At first, the red is triumphant in this space when viewing the picture. These black and white geometric shapes all give a movement throughout the tableaux. These light and dark particles – photons - shine their light waves to puncture the red square. Eventually, the black and white forms and points take over the tableaux. And renewal And the end we are left with an enigma solved.
The Future Seraphim of History.
Nancy Mauro Flude's research is driven by the demystification of technology, and the 'mystification' that lie in and through the performance of the machinic assemblage, Mauro-Flude's research reconnoitres the relationship between computational culture and performance - both contemporary and arcane. By examining the reach of ubiquitous computing into our daily lives, and the impact of networked computation upon the planet, through curation, writing and artistic practice she contributes to aesthetic debates about the evolving relationship between culture, technology and society.