Glitches brings Troika’s site-specific installation Limits of a Known Territory (2015) to Europe for the first time to be shown alongside new and recent bodies of work. The exhibited works stem from Troika’s continuing interest in reductionism and emergence. Incorporating various methods of, and allusions to ‘separation’, the works collectively investigate the deviation away from a singular interpretation of the world, and explore, through various physical shifts, the division between subjective point of view and objective truth. The works act as a filter by which reality is a simulation and technology is the lens through which we experience and interpret another, yet equally true, version of the world.
In Troika’s large-scale installation Limits of a Known Territory, visitors are invited to navigate a space flooded with water. Streams of water drip from the ceiling, behaving in unfamiliar and illogical ways: some are frozen in time, others run slower, faster or in reverse. The unprecedented behaviour of the water-drops interrupt our conventionalised, linear engagement with time. By negating the natural and independent momentum of water, breaking streams into distinct, disparate instances, Limits of a Known Territory references the constructed, fragmentary authenticity which now defines our age.
Shown in series for the first time, Horizons (2017) are part of Troika’s progression of black ink works, in which water is applied to black ink, until the black disappears. Creating a tide-like division on the page, the point of departure for each of the two vertical horizons is a black line drawn on either side of the paper which once immersed in water, stretches out towards the centre of the paper, emerging as progressively vibrant colour spectrums. In their dualistic nature, the artworks are therefore not what they seem: they are both the various colours that constitute the absolute black and the separated colours of its intrinsic makeup. This duality can also be seen in Troika’s series of Light Drawings, which includes Fahrenheit 451, Cartography of Control and Path of Least Resistance. Made by burning paper with an electric charge, the works are dominated by the tension between control and what is inherently uncontrollable.
All Colours White explores the relationship between what is natural and artificial and the plurality of seemingly indivisible entities and experiences. It consists of a mechanism projecting red, blue and green light onto a canvas sculpture — a specific colour combination which mediates our digital experience. The projection is a constant 12-minute loop; the colours gradually bleed into each other, creating an intricate spectrum until their collective merging results in a pure white light.
Troika’s work revolves around assumptions of knowledge and the processes for attaining it. With a particular interest in the subjective and objective readings of reality and the various relationships we form with technology, they investigate the coalescence of seemingly irreconcilable opposites — nature and technology, the virtual and the real, the human and the non- human. Through drawing, sculpture and immersive installations they merge digital, high-tech and natural processes and materials that range from high voltage electricity to evolutionary computer algorithms, industrial acid, optics, soot or 3D programs to form a coalition between the increasingly abstract landscape surrounding us and experiences on a human scale.
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