Dylan_Neuwirth_Website_CONTACT_Image_2017..jpg

News

Studio updates, current events, and archival posts from 2014-2017.

NOT A HOLOGRAM IS REAL

These are the first words I wrote in a long-form multimedia iPhone note called NOT A HOLOGRAM in early December 2015:

All tinted windows in the gallery. Show the vertical neon piece in the main front space. A blank, black or white billboard on the roof. Clone videos, a wall piece, some vinyl text that is maybe a url to a site that upon loading just fills the screen with "you're relevant" or "IRRELEVANT" or a pile of broken cinder blocks or an aluminum pallet stacked with cast concrete cinder blocks maybe even fake them and make them from textured foam. Images of burning cell phone towers and a succession of brutal, beautiful ads. 

Two months later, after a series of profoundly complex studio sessions, the exhibition opened as a layered, messy, baroque, and sprawling body of work that rendered an experiential, hyperreal game-like environment. Derived from a plethora of diverse materials — the work fluidly considers the ongoing effects of living in the Anthropocene, late-capitalist ecology, artificial life, and posthuman contemporary existence as they relate to the moral aesthetics of survival in a burgeoning Neo-feudalist society.

NOT-A-HOLOGRAM_ISOLAR.MMXVI: argon, glass, nickel, one transformer, extension cord, concrete block, 24 in. x 12 in. x 72 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

NOT-A-HOLOGRAM_ISOLAR.MMXVI: argon, glass, nickel, one transformer, extension cord, concrete block, 24 in. x 12 in. x 72 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

Despite the initially bizarre array of media, NOT A HOLOGRAM coheres, telling different sides of one story. It is often disturbing, and a unique turn for an artist who has typically made work with light at its most pristine.
— T. s. Flock
NOT-A-HOLOGRAM_ISOLAR.MMXVI: argon, glass, nickel, one transformer, extension cord, concrete block, 24 in. x 12 in. x 72 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

NOT-A-HOLOGRAM_ISOLAR.MMXVI: argon, glass, nickel, one transformer, extension cord, concrete block, 24 in. x 12 in. x 72 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

The large, flat leafs push against the light nourishing them. The effect is strangely even more sinister than “TERRAFORM,” whose azoic world is a primal unity, a world without terra incognita isolated by the surrounding sea. This is the dream of virtuality and total connectivity. For all its hints at swampy fecundation, “SYNTHESIS-III” instead feels isolated, cut-off, unsustainable and constraining of the organic matter it ostensibly supports.
— T. s. Flock
NOT-A-HOLOGRAM_SYNTHESIS-III.MMXVI: aluminum, galvanized steel, plastic, water, organic matter, two fluorescent bulbs, four extension cords, 60 in. x 60 in. x 60 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

NOT-A-HOLOGRAM_SYNTHESIS-III.MMXVI: aluminum, galvanized steel, plastic, water, organic matter, two fluorescent bulbs, four extension cords, 60 in. x 60 in. x 60 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

NOT-A-HOLOGRAM_TERRAFORM.MMXVI: aluminum, plastic, glass, paper, iPhone 5S, 48 in. x 60 in. x 40 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

NOT-A-HOLOGRAM_TERRAFORM.MMXVI: aluminum, plastic, glass, paper, iPhone 5S, 48 in. x 60 in. x 40 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

The charred surface becomes a textured map of a past supercontinent. Its shadow on the floor becomes its most distinct feature, surrounded by a virtual sea that disappears into the darkness around your feet. The manmade waste, an invention of convenience more than necessity, shines dimly.
— T. s. Flock
NOT-A-HOLOGRAM_TERRAFORM.MMXVI: aluminum, plastic, glass, paper, iPhone 5S, 48 in. x 60 in. x 40 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

NOT-A-HOLOGRAM_TERRAFORM.MMXVI: aluminum, plastic, glass, paper, iPhone 5S, 48 in. x 60 in. x 40 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

NOT-A-HOLOGRAM_LAZARUS.MMXVI: neon, glass, aluminum, plastic, copper, two transformers, GTO, extension cord, 48 in. x 4 in. x 72 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

NOT-A-HOLOGRAM_LAZARUS.MMXVI: neon, glass, aluminum, plastic, copper, two transformers, GTO, extension cord, 48 in. x 4 in. x 72 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

But if one views the universe as a hologram of self, answering to one’s egoic will, already one has made the cosmos a fetid tub wherein one is just pressed against a scant light. If, beyond this, one aims to transcend oblivion or the body only to perpetuate self in this limited state, all hypotheticals become hellish. The irony is that a mastery of thoughts and senses that might release one from this state also tend to invoke ego-death and negate the desire for immortality.
— T. s. Flock
NOT-A-HOLOGRAM_LAZARUS.MMXVI: neon, glass, aluminum, plastic, copper, two transformers, GTO, extension cord, 48 in. x 4 in. x 72 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

NOT-A-HOLOGRAM_LAZARUS.MMXVI: neon, glass, aluminum, plastic, copper, two transformers, GTO, extension cord, 48 in. x 4 in. x 72 in. | Dylan Neuwirth + Image by Nathaniel Willson © 2016

Although nothing went as planned, the installation I generated captured what it will feel like to exist in the future we can most probably expect as the planet slides into a decades long apocalypse and would go on to become the inspiration for a virtual reality experience created with Grant Kirkpatrick and Fritz Rodriguez. In the end, as a completed cross-platform body of work, NOT A HOLOGRAM is a material driven meta-mindfuck and nothing more than a simulation of a simulation of the total simulation we collectively call reality.


NOT A HOLOGRAM was at GLASS BOX from February 4-26, 2016. Quotes taken from T. s. Flock's THE REVENGE OF THE REAL: DYLAN NEUWIRTH'S NOT A HOLOGRAM