Extracting and manipulating a clip from The Inside Story of Modern Gasoline an industrial film (1949), endless chains of anthropomorphized hydrocarbon molecules dance until they blot out the screen. Hydrocarbon chains are the base material for all plastics. They know not what they become, they simply proliferate. Hydrocarbons are indeed dispassionately lively actors, taking an indiscriminate variety of forms: they may be rotting garbage, they may be gasoline, they may be corpses; all energy and potential.
About Marina Zurkow
New media artist Marina Zurkow creates research-based animated films that explore the subject of human relations with animals, plants, weather, and the media cultures that develop around these themes. “My work is about the networked stories we tell ourselves about our place in the larger world, the interwoven and often conflicted threads of this, and how these are represented in mediated form,” Zurkow says. In response to online viewing behaviors—particularly the short attention spans of online audiences—Zurkow makes layered psychological narratives that have neither continuous thread, nor beginning or end. Zurkow creates many of the images used in her films by hand, as in Mesocosm (Northumberland UK) (2011), a 146-hour film about a yearlong cycle of life in the moors of northern England, involving weather phenomena and a cast of 150 characters—an investigation of the nature of human relationships with changing landscapes.
American, b. 1962, New York, New York, based in Brooklyn, New York