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We step off the small cobblestoned street of London’s oldest district and into what looks like a futuristic garage. Suspended in the gallery are two iridescent oblong forms. Their sleek, ridged exoskeletons, a combination of reflective champagne and transparent amber panels, piece together like biomechanical cocoons. Art Nouveau-inflected sci-fi aesthetics (think H.R. Giger’s work on Alien (1979) or steampunk architecture) are frequently cited in reference to Kim Farkas’ sculptures, though he maintains this is incidental; his aperture of influences is wide open, after all. Farkas’ broad interests, among them deep-sea diving, football, or the social mechanics of larping – each worlds of their own, with their attendant ritualised behaviours and codes – all manage to find their way into his work, which ultimately always comes back to themes of cultural transmission and (self-)preservation. It is common for those who grew up between two different cultures, countries, or languag…
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We step off the small cobblestoned street of London’s oldest district and into what looks like a futuristic garage. Suspended in the gallery are two iridescent oblong forms. Their sleek, ridged exoskeletons, a combination of reflective champagne and transparent amber panels, piece together like biomechanical cocoons. Art Nouveau-inflected sci-fi aesthetics (think H.R. Giger’s work on Alien (1979) or steampunk architecture) are frequently cited in reference to Kim Farkas’ sculptures, though he maintains this is incidental; his aperture of influences is wide open, after all. Farkas’ broad interests, among them deep-sea diving, football, or the social mechanics of larping – each worlds of their own, with their attendant ritualised behaviours and codes – all manage to find their way into his work, which ultimately always comes back to themes of cultural transmission and (self-)preservation. It is common for those who grew up between two different cultures, countries, or languag…
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