They make the river shine
2024
Glass-reinforced polyester, aluminium, steel, found objects.
@ Brasseries Atlas, Brussels, Belgium
Curator: Grant Petrey
They make the river shine
2024
The sculpture’s silent sway immediately catches the eye. Its mechanical operation harkens back to a time of early machines and their hypnotic wonder. Its sway and shape are a direct reference to Flip Flap, a mass-produced toy automaton that gained a cult-following from the 90s onwards thanks to the animistic allure of its spontaneous movement. Here, the sculpture playfully blends aesthetics: the forceful lines and raw materiality of the modernist fine art object, the zaniness of Postmodernism, the geometrical accuracy of the digital model. Its composite aesthetics mark a break from the whimsical charm of the toy automaton it references. In a nod to the discursive flavour of our times, it now borrows from the language of the hyperbole. Stretched to a human scale, twisted around itself, sharpened at the tips, its mutated form casts a fleeting doubt onto the assumption of its harmlessness. Should we allow the machine to fascinate us so easily?
This project is supported through a Mead Fellowship awarded by the University of the Arts London.
Not There Yet
2022
Found objects, motor, electronics, evolutionary algorithm
Not There Yet seeks to probe the limits of our tendency to perceive aliveness in technological artefacts. The performative sculpture is set in motion by an evolutionary algorithm. This algorithm directs a choreography that alters itself in search of a climax that never comes. In addition to this simple behaviour, I use the material properties of the moving element to evoke lifelike qualities. However, the inner workings of the electromechanical system are left exposed and stand as obstacles to animistic interpretations. The illusion of life, rather than being tinged with mysticism, visibly emerges from the interactions of recognisable objects.
@ Creative Robotics Symposium, London, UK
Curator: Vali Lalioti
Photo: Dian Joy
Born To Hate
2022
Video installation for a live music performance.
Scaffolding, monitors, raspberry pis, videos generated with stable diffusion.
Duration: 60 minutes
Concept and live performance: GOLCE
Set design: GOLCE, Alexia Fiasco, Tristan Gac
@ Arsenic, Lausanne, Switzerland
Curator: Yasemin Imre & Samuel Antoine
Photo: Cynthia Mai Ammann
Video: Philip Ortelli and James Bantone
@ Echo Correspondence, Vienna, Austria
Curator: PW-Magazine
Deep learning models, like pop culture, excel at dishing out stale echoes of the past. They digest, tirelessly, they devour and digest so they may spit out our lowest common denominators. At every cycle, culture is reborn into a less distinctive version of itself, and the sublime silicon limbo grows unfathomably. For this performance, GOLCE and I punctured the veil between our world and this endless plane of twisted effigies. And from this inglorious hole howled twinned winds of pink puke and siamese screamers.
2K20x
2021
Video game in five acts for Windows and macOS.
Additional assets: Tristan Gac & llyazel
Music and concept: GOLCE
Bunny knew they had wandered too far. The air had grown thick and oozy. The stench of deep-fried desires stunned them for a second. Its bitterness was all too familiar, so why were memories so brutally slow to emerge? But then it didn’t matter anymore: the heavy gates of Ceolg had shut once more behind their slimy arse.