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Mesocosm

Marina Zurkow 
American, b. 1962 

Mesocosm (Wink, TX), 2012 
Real-time generative software animation (with sound) 

Collection of the Carl & Marilynn Thoma Foundation 

https://d3jcivbn24nosj.cloudfront.net/Mesocosm.mp3

 

Visual Description 

This is an animation, displayed on a wall-mounted monitor, which depicts a large, flooded sinkhole in an oil field. The sinkhole sits in the middle of a rocky landscape, sparsely populated with bare shrubs and tree branches. The landscape’s ground is primarily black, white, and gray, with red stains around the sinkhole’s perimeter. The sinkhole is filled with an ash-gray liquid that ripples and flows downward. In the foreground of the scene is a picnic table with built-in benches. On the left side of the background is an oil refinery that burns off gases in plumes. On the right side of the background is a billboard that plays different videos as the animation progresses. Over time, the scene transitions from day to night and experiences different weather conditions. Various objects, animals, and people also periodically feature in the scene, such as the following: hot air balloons, plastic bags, people in yellow hazmat suits investigating the sinkhole or napping on the picnic table, trains moving along the horizon, birds flying in the sky, and large monarch butterflies flitting across the screen. 

 

Extended Label Text 

Marina Zurkow is an interdisciplinary artist who constructs animations and immersive, participatory installations focusing on the relationship between humanity and nature. Part of her series of software-driven, animated landscapes, Mesocosm (Wink, TX) depicts a large sinkhole in a Wink, TX oil field. Throughout the animation’s 146-hour cycle, the dangerous sinkhole bubbles and flows, pulling in and expelling objects, while oil refineries in the background burn off gases as wildlife and HazMat workers inhabit the dystopian environment. 

Though the animation is hand-drawn, its dynamic choreography is determined by data inputs and is never the same. 

 

——————————————————————————————————————————————————-

 

Marina Zurkow 
Estadounidense, n. 1962 

Mesocosmo (Wink, TX), 2012 
Animación generativa en tiempo real (con sonido) 

Colección de la Fundación Carl y Marilynn Thoma 

 

Descripción Visual 

Esta es una animación, mostrada en un monitor montado en la pared, que representa un gran socavón inundado en un campo petrolero. El socavón se encuentra en medio de un paisaje rocoso, escasamente poblado con arbustos desnudos y ramas de árboles. El suelo del paisaje es principalmente negro, blanco y gris, con manchas rojas alrededor del perímetro del socavón. El socavón está lleno de un líquido gris ceniza que ondula y fluye hacia abajo. En el primer plano de la escena hay una mesa de picnic con bancos integrados. En el lado izquierdo del fondo hay una refinería de petróleo que quema gases en columnas de humo. En el lado derecho del fondo hay una cartelera que reproduce diferentes videos a medida que avanza la animación. Con el tiempo, la escena cambia del día a la noche y experimenta diferentes condiciones climáticas. También aparecen periódicamente en la escena varios objetos, animales y personas, como los siguientes: globos aerostáticos, bolsas de plástico, personas con trajes amarillos de materiales peligrosos investigando el socavón o durmiendo en la mesa de picnic, trenes moviéndose en el horizonte, pájaros volando en el cielo y grandes mariposas monarca revoloteando por la pantalla.   
 

Texto de Etiqueta Ampliado 

Marina Zurkow es una artista interdisciplinaria que construye animaciones e instalaciones participativas inmersivas enfocadas en la relación entre la humanidad y la naturaleza. Parte de su serie de paisajes animados impulsados por software, Mesocosmo (Wink, TX) representa un gran socavón en un campo petrolero en Wink, TX. A lo largo del ciclo de 146 horas de la animación, el peligroso socavón burbujea y fluye, absorbiendo y expulsando objetos, mientras las refinerías de petróleo en el fondo queman gases y la fauna y los trabajadores de materiales peligrosos habitan el entorno distópico. 
 
Aunque la animación está dibujada a mano, su coreografía dinámica está determinada por entradas de datos y nunca es la misma.

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