Dean Valadez

Simulacra seeks to deny its own truth; therefore, the representation becomes the truth itself and denounces its materiality. The early adopters of abstractionism actually sought to expose what a painting was made of -by not painting representationally and by exposing what paint looked like when not organized in a representationally coherent fashion. Many would remark that this type of painting was actually more real than the simulacra's simulation of the real. To parallel this, these works expose the things they seek to hide, to denounce their own simulacra rather than to deny its truth, or to mash images together, as one exposes the other. Ultimately, they represent both the simulacra and the falseness of the simulacra, similar to a pixelized breakdown in digital visuals and communication.
(http://valadez.pbwiki.com/Jean-Baudrillard)

The Collapse Sequence series positions itself over collective media memory. As media continuously augments societal perception, it nonetheless augments societal memories and essentially the things that we recollect. Ironically, a newer form of media is the database for the older - mass media images are now easily housed within the networked information grid, each personal computer functioning as a neuronal hub.

The JFK motorcade is just as easily recalled as any other incident, and through that functioning, is a collapsing of time. The data mosh of the motorcade sequence and September 11 collide simultaneously, while meaningfully looking forwards.

The Sequence contends over ascendancy and descendancy in human structures; symbols of human hope and strength collapse, and, without the linearity of time, can be repeated and looped on constant recall. It is through this looped non-linearity that prefaces and anticipates a similar descent from what the globalized world calls hope.

The Collapse Sequence images partner with the video 'Thank You for Being a Good Citizen'. Please click Videos to view.

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