Online Gallery · MARIA FOLINA
Geometry, computation, signal.
Selected digital works shaped by Neo-Constructivism/Memphis ideas, De Stijl, Bauhaus grids, user manual pictograms and industrial post-internet visual noise.
Threshold between human scale and industrial machinery, drawing from the architecture of specific test facilities. Influenced by industrial album aesthetics and warning graphics. Mixed media, using industrial supermagnet facility imagery.
Revisiting the Pioneer Plaque through the oldest collision imagery, the work transforms scientific notation into a speculative transmission about human presence and machine observation. A modern Rosetta Stone, showing the feats of humanity.
A collision between a specific scientific visitor center and internet memory: machinery and wall art as abstract shapes, filtered through Flash-era interfaces, browser-game aesthetics and early digital culture.
Built from the visual language of early operating systems, device manuals and obsolete computing hardware, the work layers Windows 95-era interfaces, machine panels and digital artifacts into a WWW-esque environment.
Red-black signal architecture with distorted language and institutional imagery, as compliance becomes part of the atmosphere.
A gesture study in primary colors.
'Would you observe time from many points?' A safety manual for a controlled system failure (or an art movement subversion). Time freezes at the point of impact, a moment of pure discovery inside the failed collision. The figures remain calm and present in this user manual, as the "logic core" shatters. A protocol for learning. De Stijl breaks into simpler pieces to be understood.
Built from the visual memory of early online Flash games, the work follows an incognito figure controlling a helicopter, weighted down, through a simple orange-colored landscape to reach the end flag.
Drawing from "Mensch-Maschine" visual influence, the composition merges human presence with red-black mechanical fragments of the most well-known scientific collision system. A double entendre: Rot (Red) and the rotation of the machine.
De Stijl on the axis grids (see diagonals of Theo van Doesburg). "The Architect" represents the internal labor of this Myers-Briggs persona: a high-pressure structure of logic where every component must be precise for the system to stand. A search for harmony not in static, but in 3D grid.
A study in Social Game Theory and the mechanics of engagement. Using the gear as a "mechanical lure," the work depicts the calculated asymmetry of connection. The ways of "angling in" toward collaboration while misintrepreting social interaction.
A study of clinical and personal asymmetric coercive power, mirroring the forced dynamic of Klimt’s The Kiss. Mapping (1) knowledge as containment, (2) showcasing the "success", (3) the Skinnerbox and (4) suppressed impulses, this work depicts a closed system of possession. The lounging figure’s pride trades the heart for a diagnosis: the "light" is finally understood, but that understanding becomes the cage.
Inspired by particle colliders and pictogram user guides, the composition places a worker at the center of converging trajectories, machinery and impact zones. Human presence becomes part of the collision itself, powering discovery (and following warnings, especially in danger zones).
First piece of my 'Kunstmusik' collection is the sound of this music factory starting up, as the man becomes part of the industrial production line. Inspired by EBM sounds, it is the mechanical pulse of rhythm and an assembly line of music culture.
'Two-bears-indeed-high-fiving', right under the panopticon. Part of my 'Kunstmusik' collection and visibly inspired by existing albums, this work visualizes the observer's landscape through psychology, inkblots, the 'pleasure principle', normality and mixed media of doctoral book imagery. Being the watching dog in a world where you cannot participate in, but only look from above. Clinical detachment of a 'greyhound' looking for all its life from the tower, understanding that looking at the system is the only proxy for knowing how it feels.
An Architect’s interior landscape and safe room, filled with mind puzzles in all forms, from early internet flash media to enigmatic series and songs. Inside, atop the chevron floor of the Black Lodge, sits the creation machine: a terminal where one types commands and hits buttons, typing words that manifest life or items. The 'private life' of an organized, hyper-active mind that has become a self-imposed cage. It is the Architect’s ultimate paradox: a sanctuary built of puzzles and protocol, broadcasting a silent and desperate challenge: "If you can find me, come and get me out of here."
An art exhibition that will happen soon. My Ausstellung. Your Ausstellung. It is upcoming. 'When?', 'By whom?', 'Where?'. Doesn't matter. Let's celebrate. It's 13/01. It's dadaism. Fin.
Artist’s Note
Beginning from the visual language of De Stijl and Neo-Constructivism (primary color, linear structure, modular balance) the works "fracture" the modernist grid through industrial imagery, scientific infrastructure, browser-era interfaces and compressed internet memory.
Rather than seeking perfect order, the compositions explore: "What happens when modernist clarity encounters technological pressure, surveillance aesthetics and the unstable digital world?"