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Liquid Walls: The Digital Art of Tamiko Thiel

Liquid Walls: The Digital Art of Tamiko Thiel Liquid WALLS The digital Art of Tamiko Thiel Matthew Wilson Smith Y ou find yourself in a room, with rice-paper walls and bamboo mats, a Japanese house standing on stilts in middle of the sea. Wooden stairs lead down to the surface of the water, and on the water floats a boat. You descend the staircase and you are in the boat and you sail into the sea in this boat drawn by seahorses, as golden icons float upwards overhead like self-similar fractals, products of some iterated function system, or air bubbles from some invisible leviathan. You are Mariko Horo, Mariko the Wanderer, or you are seeing the world through her eyes, and the time is some point, or many points, between the twelfth and twentysecond centuries. You sail westward to a land that alternately appears as Paradise, Purgatory, Limbo, and Inferno; you reverse Marco Polo’s travels, discovering and dreaming Venice as an exotic Occident. Ghosts of Palladio and Dante haunt these islands, as do darker specters of a more recent past, of Vietnam and Abu Ghraib, of the Virgin Mary as Guan Yin, of Byzantine frescos and Tibetan tankas swirling in a fiery Court of Final Judgment.1 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Liquid Walls: The Digital Art of Tamiko Thiel

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References (6)

Publisher
MIT Press
Copyright
© 2010 Matthew Wilson Smith
Subject
Features
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_a_00004
Publisher site
See Article on Publisher Site

Abstract

Liquid WALLS The digital Art of Tamiko Thiel Matthew Wilson Smith Y ou find yourself in a room, with rice-paper walls and bamboo mats, a Japanese house standing on stilts in middle of the sea. Wooden stairs lead down to the surface of the water, and on the water floats a boat. You descend the staircase and you are in the boat and you sail into the sea in this boat drawn by seahorses, as golden icons float upwards overhead like self-similar fractals, products of some iterated function system, or air bubbles from some invisible leviathan. You are Mariko Horo, Mariko the Wanderer, or you are seeing the world through her eyes, and the time is some point, or many points, between the twelfth and twentysecond centuries. You sail westward to a land that alternately appears as Paradise, Purgatory, Limbo, and Inferno; you reverse Marco Polo’s travels, discovering and dreaming Venice as an exotic Occident. Ghosts of Palladio and Dante haunt these islands, as do darker specters of a more recent past, of Vietnam and Abu Ghraib, of the Virgin Mary as Guan Yin, of Byzantine frescos and Tibetan tankas swirling in a fiery Court of Final Judgment.1

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: Sep 1, 2010

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