In march, I returned to my hometown of Poznań, Poland to quarantine with my family in their home. I found myself back in my childhood bedroom, which was, after my moving out, transformed into a storage unit for old toys, childhood trophies, family heirlooms, holiday souvenirs, and other miscellaneous items my mother couldn’t bear to get rid of. Midas is a series of photogrammetric scans of the familial archive, an attempt in digitising those artefacts.
Some of the scans closely resemble the original object, some bear digital artefacts and distortions, and some glitch completely - no longer resembling their physical counterparts. Those glitches and distortions, like memories, become abstract representations of what once was; an excess, or an aura, of an object no longer there. The digital process, like biological memory - imperfect, deteriorating, entropic.
The virtual sculptures are rendered, ‘cast’ in gold - like monuments, altars, reliquaries. Questioning modes of production, the mineral basis of computational technology, relationships between human - machine - earth - mineral in the anthropocene; and between the gold of my great-grandmothers earrings, the gold of my laptop’s microchip, and the virtual gold of the rendering software. Looking at mineral world thorough a virtual lens, and at virtual world though a mineral one.