Plastic Pulse

In the wake of so many dramatic shifts in memory and its depictions, Ezra Miller stands as a dystopian heir to the Art of Memory. Starting with images he gathers in daily life, the artist implements a process of deformation, creasing the code that makes up the surface of his images, fanning out near-infinite prospects from the source image to reach a delicate balance between photography and its altered material. There is no looking at Ezra Miller’s photographs, only looking through them, passing through their algorithmically creased surface. What is made out there is not merely things seen, but recollections to come, the bits and pieces of a floating, shared memory. —Nicolas Giraud

The whole world is only a virtuality that currently exists only in the folds of the soul which convey it, the soul implementing inner pleats through which it endows itself with a representation of the enclosed world. We are moving from inflection to inclusion in a subject, as if from the virtual to the real, inflection defining the fold, but inclusion defining the soul or the subject, that is, what envelops the fold, its final cause and its completed act. —Gilles Deleuze, The Fold, tr. Tom Conley