A technological reinterpretation of the Fantasmagoria shadow-play from the XVIIIth century. It is presented as an automated shadow theater composed of a logistical platform robot that continuously rearranges 3D-printed sculptures and projects their shadows. The piece is inspired by new types of logistical centers and ''dark factories,'' fully automated spaces that operate in complete darkness, dramatizing our relation with overproduction, job replacement through automation, and new time/spaces brought about by our consumption habits.
Initially trained as an architect, Thomas Garnier is a French contemporary and visual artist. His practice is that of an artist but also of a researcher or a heterotopologist. This search and construct of meaning in the ‘‘liminal’’ brings him to produce automated and collapsing sculptures, infinite moving images that loop on themselves, displays that randomly compose linguistical accumulations and etchings of digitally corrupted files.
