Tricky Walsh’s Tiefenzeit is a work of speculative fiction embodied through paintings (the pages of her new science fiction graphic novel, to be published post-exhibition), sculptures (technological relics from this fictional world) and, more ephemerally, sound and smell. These elements provide a slippage in spacial perception which asks the audience to consider the concepts of deep time: a geological constant in an ever expanding past and future.
Tiefenzeit offers an insight into multiple universes as infinite parallel possibilities: the paintings are a synthesis of abstract geometry and pattern with an inclusive graphic based narrative. Littered with various types of early code and graphic symbology, the narrative attempts to progress with a preference on action, gesture and spatial relationships thanwritten word. The sculptures include a series of deconstructed technological relics, amongst them a full scale reconfiguration of the Oramics Machine which (unlike its actual function) features in the narrative as a catalyst for the integration of the various terrestrial spheres.
This exhibition is the culmination of a three month residency in London undertaken by Walsh in 2015, and the works within it express not only the research, but the experience of being completely overwhelmed by the breadth and depth of technological history.