From The Axis Vault Gallery-Auburn, NY
Exhibition Note: Temporal Flux
By Julian Vought, Senior Critic, The Modern Perspective
To step into the presence of Temporal Flux is to witness the violent, beautiful unraveling of a memory in real-time. The installation does not merely occupy space; it actively contests it, staging a kinetic war between the analog weight of history and the searing, immaterial velocity of the digital age.
At first glance, the eye fights for purchase. We are grounded by the familiar: the rough-hewn, charred timber of a vernacular shack, the rust on a vintage bicycle’s fender, the weary posture of a commuter frozen in transit. These are the artifacts of a slow world—tactile, heavy, and silent.
But this stillness is deceptive. It is being cannibalized.
The artist has interrupted this pastoral tableau with a ferocious injection of chaotic luminosity. This is not the warm glow of a hearth; it is the cold, frantic energy of a corrupted file. Thousands of filaments of electroluminescent wire and twisted, sandblasted acrylic do not just “surround” the subject—they obliterate it. The figure on the bicycle is not riding; they are dissolving. They are being translated, byte by agonizing byte, into pure frequency.
There is a profound melancholy in this disintegration. The rear wheel of the bicycle, reconstructed from bent light and void, suggests that forward motion is no longer possible in a physical sense—only a scattering into the ether.
We are looking at a “glitch” manifest in three dimensions. The sculpture asks the uncomfortable question of our era: As we upload our lives into the cloud, what happens to the heavy, physical vessels we leave behind?
The brilliance of Temporal Flux lies in its refusal to let us look away from the collision. The light is too bright, the wood too dark. It captures the precise millisecond where the solid world surrenders to the speed of light—a permanent, suspended explosion that feels less like a sculpture and more like a warning.
