Rapid prototyping is usually associated with blobular pseudo-futuristic design. This kind of design is yawnsome, derivative and usually presented in a hysterically blinkered manner … but perhaps worst of all, what it tells us about the future is a lie.
In truth, the future is something much more complicated.
This piece is part of a series by artist Chris Cornish that begin to explore quite how complex the relationship between the past, future and present might be.
In ‘Valley of the Shadow of Death‘, Cornish creates a replica from documentary photographs of aftermath of the Charge of the Light Brigade – the disastrous cavalry charge in the Crimean War. However robots, spawning pods and industrial architecture copied from contemporary PC based computer games replace cannon balls, infantry and tents.
Cornish writes that ‘Valley of the Shadow of Death‘ is “From a series of work exploring the boundaries of documentation and fiction. Combining architecture ‘hacked’ from contemporary computer games with the composition of historical war photography. A sculpture which fuses narrative, history and material.”
Amongst other work on his website are some fantastic stills of a film called “Tate Modern“
Cornish describes this piece: ‘Tate Modern presents the Gnostic space of the Turbine Hall as a smouldering wreck in a forest clearing. The recognition of the charred escalators, and the skeleton frame of the building’s structure – beyond any recognition of a real scenario. A fictional narrative that sequels on behalf of the fact.’
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