In Natures, Quayola creates a synthetic order that is vibrant, immaterial and contingent. The computer-generated elements interpret plant behaviour to create a sense of tangency that accompanies what may at first seem to divide ‘the natural’ and ‘the artificial,’ the organic and the code. The digital counter-points move constantly in flow directions and coalesce to achieve synthesis based on the derivative force of nature and code. Already in De Rerum Natura (On the Nature of Things), Titus Lucretius Carus has discussed the ‘clinamen,’ the angle of minimum derivation, as the origin of life. The deviation of atoms occurs unpredictably in space and time and drives the free will of living things. The movement of atoms through the void entangles a spatial deflection which cannot be determined in space or time yet manifests the change of motion. In Quayola’s work, deviating shifts, slides and motions occur against a dark, voided background, focusing the eye on the intangible relational nodes that create a sense of tangency and togetherness. Natures is a synthetic reality where binaries do not compete within definitive and restricted spectrums but instead reveal mutually inclusive dimensions and manifestations. The topological oscillations offer a digital vista where nature and artifice fluctuate not only dynamically but conjunctly, as ‘the natural’ manifests its virtual dynamics. In Natures, the entanglement of information and senses is not seen as a static envelope of one onto the other, but as a mutually inclusive, virtual and indeterminate relation.
– Sabin Bors, March 01, 2013
