Maurice Wald
current exhibitions
woolworth at 3021 Project SpaceBRUTALISM at Kornversuchsspeicher
work
woolworthcollaborative
Human Intelligence Task // Neurons in the Machine with Juan Felipe Medina & Paula LondonoClosed Loop / Scrying Mirror with
Felix Ansmann
Getting Away With Being an Amateur with Felix Ansmann
I Am Everybody, I Am Everybody with Marque-Lin & Felix Ansmann
image.gen with Felix Ansmann
Studien with Felix Ansmann
cv
about
Maurice Wald
current exhibitions
woolworth at 3021 Project SpaceBRUTALISM at Kornversuchsspeicher
work
woolworth
collaborative
Closed Loop / Scrying Mirror withFelix Ansmann
Human Intelligence Task // Neurons in the Machine with Juan Felipe Medina & Paula Londono
Getting Away With Being an Amateur with Felix Ansmann
I Am Everybody, I Am Everybody with Marque-Lin & Felix Ansmann
image.gen with Felix Ansmann
Studien with Felix Ansmann
cv
about
The paintings that compose Maurice Wald's thesis exhibit, woolworth, articulate an ontological anxiety concerning the structural rubric of representation. Both in the process of their making and as installed, reflectively, the paintings collude to describe a theory of how that which is made visual, not to say visible, manifests.
The standard operational mode by which most current technologies deal with visual legibility (whether for the gaze of a human or to be processed by a machine) is to demonstrate these representational capacities as empirical and authorless, concealing the determinant processes.
All media eventually experience technological obsolescence. But once relieved from their intended use values (the production of phantasmic verisimilitude) these media acquire a latent, unburdened philosophical perspective in relation to their former tasks. In their old age they become articulate, if negatively, through the aperture of their own degradation.
For Wald, painting becomes a substrate from a historical cemetery of media where representation is examined as an architectural construct; architecture not as in bricks and mortar but as the erection of structure.
- James Krone
The standard operational mode by which most current technologies deal with visual legibility (whether for the gaze of a human or to be processed by a machine) is to demonstrate these representational capacities as empirical and authorless, concealing the determinant processes.
All media eventually experience technological obsolescence. But once relieved from their intended use values (the production of phantasmic verisimilitude) these media acquire a latent, unburdened philosophical perspective in relation to their former tasks. In their old age they become articulate, if negatively, through the aperture of their own degradation.
For Wald, painting becomes a substrate from a historical cemetery of media where representation is examined as an architectural construct; architecture not as in bricks and mortar but as the erection of structure.
- James Krone