MICHAEL EBY is a writer and researcher on contemporary art and digital culture. He currently lives in London.
Manifesting his architectural training as well as an interest in the visual aesthetic of role-playing video games, Leks computerized fantasies elicit the spirit of free-roaming gameplay with the comprehensiveness of a technical illustration.
The works adhere to the same format: one large image serves as the works base, stretching across the entirety of the plane surface, while three or four additional figures are spread out on top.
Our autocatalytic world renders the tropes of classical science-fiction obsolete. Romantic fabulation, deployed prior to the space race and the globalization of telecommunications, breaks down when confronted by a technoscientific paradigm no longer operating at the limit of an extrinsic unknown.
One difference between a diagram and a tracing is their relationship to abstraction. To diagram is to anticipate the production of something new, and a diagrams information can be read selectively. To trace is to attempt to capture the totality of a formation as something absent.
The Bristol-based Clayton's new show at the southeast London gallery Gasworks uses archival material to simulate this emigration from one international mining hub to another. Titled Quantum Ghost, the installation considers inorganic matter is the vital agent driving international flows of capital and the coerced movement of bodies.