The problem of having such an extraordinary array of tools to work with is that we squander them, that we don't refine them, that we don't need to take any of them to the delightful, inspiring peak of their potential – because they're replaced, upgraded and refined before we get the chance to master them.
David Rudnick
I think design is responsible for where we are to some extent, but is also the potential way forward – a way out. How we maintain our relationship or mediate our relationship with the planet and the world around us is obviously something that design will help us get through.
Tim Marlow
Starting from the genesis of Rudnick's visual practice, the pair move through the how, the why, the what and the what next of his work, and of art and design more broadly – both on and off-chain. By way of conclusion, Marlow puts Rudnick on proverbial trial. The charge? "Some kind of nostalgia."
David Rudnick (he/him) reinvents past tropes and codes to establish new visual systems.
On the horizon
We recently visited David Rudnick in Ghent, where he was perfecting the physical and digital elements of his imminent Tomb Series – a number of which will be created and released in collaboration with Avant Arte.
While there, we also stopped by the construction site of a new space for his collaborative studio, Terrain.
Rudnick's Tomb Series ecompasses 177 individual works in 8 'houses' – connected by an intricate framework of rules, mechanics and behaviours.
Credits
Photography and videography by Louis Mas for Avant Arte.
