‘Discontinuity’, by Marcela Dorantes — an artist also known as Mod Art — has been showing at Greenwich Peninsula’s Flux Exhibition, in London.
In this triptych of triptychs, Marcela Dorantes’ montage navigates a euphoric, floating state.
Chapter one’s gale-blurred strokes shimmer in a brightly flickering crosswind that tickles our airy ascent to dark mountains. Dream-height ridges hang the traces of moonlit hammocks above the purple rockscape, in a line-lullaby that breathes tranquillity onto vertigo. Air becomes water in a surreal metamorphosis of palpable darkening, as we dive, through new perceptual operators, into the smaller, second and third images of this opening section: complementary microcosms of the bottomless skies above, where white dots rise like bubbles, revealed by the dusk’s new density.
The central, second chapter flips ninety degrees into gold. The trip’s reduced frame heralds a portal’s new awareness as, looking down, we spin into a heat haze of desert bubbles, suspended over the buzzing enlightenment of a summer plâteau. Waves ripple onto sand, evaporating to bleached light, from which dark pebbles emerge in a shower of heat-disturbing weight.
From this sunny stone-storm, we plunge into a swirling forest: again purple, but now tangled and dense, after the wind’s unbounded mountains. On closer inspection, this forest remains the mountains, with their fabulous, heaven-tickling turrets; yet, on our tuning to the fine structure, this perspective has faded, our evolution now scanning the atoms and currents of the scene’s fractal source. This swirling, third chapter falls asleep into small-frame echoes, surfers carving their balance down walls of silent water, amidst the solar pebbles, now grown to boulders, whose rising trails light the brilliance of the universe’s eternal noon.
Our sliding, pivoting transcension of the three large images, forges the multiple viewpoints, and parallel transformations, of expanding consciousness. Immersed, our perception flips with the strobing euphoria of orthogonality. Though unseen during chapter three’s quantum dive, our vast environment’s jagged horizon remains our corollary and energetic neighbour.
To quote the artist, ‘The life of an electron is not a line in space: it is a dotted manifestation of events, one here and another one there. Events are punctiform, discontinuous, probabilistic, relative’.
Mod Art continues: ‘There is no future: just possibilities’.
Her own analysis touches on a physically timeless world: like her triptych, an inter-vector cascade, where duration is simply relative wavelength, and where consciousness is ascension from squashed turbulence to the peace of elevation, as higher dimensional views map lower dimensional structure, and calm the claustrophobic strife of the plane.
By living this process in ‘Discontinuity’, Mod Art shares with us its endless euphoria.