R I O U X
  • RIOUX
  • Works
    • Cube Art Fair / NEW-YORK 2021
    • Landcuts
    • GEON-S
    • Commissioned Artwork
    • Tubular
    • Digital Cliff
    • OP OP
    • Recursive
    • Turquoise Default
    • Renaissance
    • CELLS
  • Media
    • White Hot Magazine
    • Silvershotz Magazine
    • ETC MEDIA 2016
    • ETC MEDIA 2007
    • Catalogues
  • Writings
    • 1: Surveying Landcuts
    • 2: Immanent Structure
    • 3: Of matters viral and vertiginous
    • 4: Place and Non-Place
    • 5: Combinatorial Play
    • 6: Dystopian Signifiers ?
    • 7: Deleuzian Diagrams
  • About
  • Contact
Photo
“Suppose you think of an organism as being like a computer graphic that is generated from some program. Or think of an oak tree as being the output of a program that was contained inside the acorn. The genetic program is in the DNA molecule. Instead of calling it software like a computer program, we call it wetware because it’s in a biological cell where everything is wet. Your software is the abstract information pattern behind your genetic code, but your actual wetware is the physical DNA in a cell.”

Rudy Rucker, R. U. Sirius, and Queen Mu, eds., The Mondo 2000 User’s Guide.
Picture
In his images of Landcuts (comprising the interrelated series The City, Downtown and The Suburb), Paul-Émile Rioux is ­creating a brave new metamorphic world of habitat and ­inhabitation for the twenty-first century. Indeed, Rioux broaches a ­powerful critique even as he builds future worlds of tiered signs that may seem purely utopian and exhilarating on first viewing but which may in fact be profoundly dystopian. As we stand on the threshold of these landcuts, they lay a cunning trap for us. We are seduced into projecting within their infinity grids. We perceive them as harbingers of total colonization, and it is not long before we are submersed and swept away into uncharted depths.

Copyright © 2021 Paul-Emile Rioux

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