Fakewhale In Dialogue with Dominic Kießling

Coming from a background in motion graphics and computational design, your current work feels like a form of resistance to technological complexity. Can you tell us more about your shift from digital culture to radical low-tech?

I worked about ten years in a motion design studio in Berlin called Pfadfinderei. We created big stage shows for bands like Moderat or Modeselektor which was very big fun at this time. We were strongly connected to the electronic music scene. My job was to design video and light setups for concerts and events and to design motion content for these media. One big element of my work was to visualize music. It is still a strong passion of mine and I am still doing live video performances with other musicians. One important matter of my studio job that became increasingly difficult for me, was actually my screen time. I was working with software all day long and it became more and more a need for me to work again with analog tools. Before I became a motion designer I was a product designer and I was already used to standing on a workbench. It also gives you a whole new perspective on analogue material if you are used to working with high end three dimensional design tools and timelines, that allow you to go back and forward in time. (I sometimes miss the undo option now.) As a motion designer I was also working with physical simulations, like water and other particle systems and I often thought that it would be cool to do this in reality. Now I see that these 3D-tools gave me a very good understanding of some physics and a lot of other things like material shadings and geometry. These were very good learning lessons. But in analogue space, designing is very different. Also frustrating if you are used to 3D-software. But the results are way more unique which is also a very good reason for my shift from digital design. It is very attractive for me to do the opposite of what the mainstream is doing and so I thought that low-tech is the right direction for me. I am also a great opponent of excess and waste on our planet and it gives me a strong satisfaction to show the world the power of improvisation with very common things.

In Life Cycle of a Plastic Tube, you create an endless loop of birth and dissolution, evoking a kind of mechanical breath. How do you conceive of “artificial life,” and how does that notion influence your aesthetics?

For me artificial life is especially interesting in terms of visual perception. In my case I would rather call it an “illusion of life” or “imitation of life”. I am very fascinated by the fact that our emotional system can be triggered by mechanical objects, like the Life Cycle of a Plastic Tube. Breathing for example is a very strong trigger. It suddenly reminds us of a living being. But even certain static shapes can give the impression of something alive. I just call it “character” then. For me a sculpture is strong, when it has a strong character. When you can not leave it without a name. The artworks by Theo Jansen also inspired me ultimately. Only the imitation of walking limbs creates such a strong feeling, that you suddenly see these constructions as living creatures.