1923 aka Heaven – Max Hattler

1923 aka Heaven - Max Hattler/><br /><em>1923 aka Heaven – Max Hattler</em></p>
<p>The connections between so called outsider art and certain forms of generative/computational art can be intrinsic and implicit. The self-referential motifs and mytho-mathematic patterns that so commonly appear in the work of outsider artists, generated by ‘non-standard’ brain functioning (or whatever the currently accepted catchphrase is), mimic the output of recursive functions, and various iteration species of the mindless algorithm. You’ll will have to wait for a more detailed post on this confluence of seemingly different paradigms – but expect one soon.</p>
<p>In the mean time attention will drawn to the work of Max Hattler, specifically his work <a href=‘1923 aka Heaven’ which was ‘inspired by the work of French outsider artist Augustin Lesage. ‘1923’ is based on Lesage’s painting ‘A Symbolic Composition of the Spiritual World’ from the same year.

In this film loop the viewer is taken on a trajectory through a seemingly infinite architecture of moving pillars, sliding steps and shifting façades, each adorned with glowing primitive shapes – circles and squares. The experience seems to be a well worked out exercise in the geometric resonance of nested complexity, the end result is a building that is a machine – a chapter of Tron occurring in Ancient Egypt. The bilateral symmetry, often also favoured by outsider artists, is employed to yield illusions of totemic forms in a way that those who have a fondness for Rorschach ink blots will appreciate.

Sync - Max Hattler
Sync – Max Hattler

Be sure to check out Max’s related video ‘1925 aka Hell’ for a darker journey into a dystopian mechanized landscape. Also not to missed is ‘Sync’ featured at Instantcinema. Sync is another exercise in periodic movement and relationships between circulating abstract geometric forms.

‘There is an underlying unchanging sync at the centre of everything. All constituent parts are locked into it as the gigantic zoetrope disc’s constant rotation creates all movement’

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