The Corruption of Time’s Dust is an exhibition of work by Nadia Belerique, Richard Fedoruk, Steven Hubert, Sylvain Sailly and Tegan Moore.
Time Dust (1992) is a work by James Rosenquist which uses the layering of several different printing methods to form a gigantic image of a delirious pop spacescape. This same process was used in the advertising of the time, where the integration and technical development of several mediums helped to produce a seamless and fantastical space. This was a seamlessness that montage had not yet achieved. Its convincing definition and realism, coupled with the spatial juxtaposition adopted from collage, depicted a proto-digital delirium – where the interior states of objects and figures spread out into a continuum.
The works in the exhibition are mostly arrived at through particular lines of process, depicting threads of delirium in the uncertainty of appearances and in the obfuscation of meaning from an investment in surfaces. Where Rosenquist’s title Time Dust suggests the possibility of stepping out of time and being able to look at time objectively, Time in this exhibition is personified as if it could itself gather the dust of delirium and be corrupted, as if it could be bribed into a collaboration. The works in the exhibition enact a similar degree and character of departure from the original delirious space; a departure that suspends, twists, and dilates.