The terminal is a journey through a 9 space virtual world. Within a 10th physical world, this space. But it is also a travel through a mental landscape. In the terminal We encounter creatures discovered in my meditation, like the holy figure of the NGs, blue boy and the girl with the pink hair, characters seemingly inhabiting that world without caring about our presence. These characters are too busy caring about themselves to even notice us.
Perhaps is this work an escape, a kind of escapism. As I see it art gives us the privilege to escape our own preconditions in order to reinvent, reflect, to find pleasure and company. I also see the work as something real, an object in itself, a world in itself, an existence, so we do not really escape reality, verklighetsflykt, we just make a temporary visit into another real. Just like larping. If you don´t belive me, belive quantum physics. A teacher once asked me How do you want to live your life with art? Not what kind of art do you do? The question encapsul something I believe is essential to my own practice. Namely to have art as a life practice, to create moments where you might lose your self, moments where you make temporary visits to temporary worlds. Good and bad.
For this work I found most inspiration from my own memories and experiences, moods I’ve felt emotions, encounters I had and times of fear. Sitting in front of the computer, building a world, it is easy to pore from your self into the work.
But of course the images and beings and music and sounds are not there for me alone. I hope that the moods are shared with the audience. That the music and tempo sparks nostalgia and can open us to the experience of memories and inspiration. And ultimately create new memories of a more gentle world.
A formal aspect of the work is the use of a FPS point of view camera. The way we recognize this camera movement is severely associating to games. When cinema first came people did not have the visual language to understand the meaning of a first person shot or a jump cut in cinema. As the audience learned these ways of understanding cinema it became appropriated in the collective culture. Just like we learned how to recognize the way cinema works with camera operations and language we now recognize the language and movements of virtual worlds..
I have worked with the game medium for this project. The tools makes it possible to create huge mountains and tiny zebras, to add music and language. 3d-modelling, and game composing can be very addictive. Very much as it can be addictive to play a game. In this world All is possible.