The wood layers of Pawlicker (2026) visibilise the layers of the preceding 3D rendering process, a still of behind-the-scenes processes fixed in an in-between state that paradoxically constitutes the final artwork. Their asymmetrical stepped strata echo Deleuze-Guattarian folds and the contour lines that map the plateaus across and within which performing and non-performing desire lines traverse capitalist circulation. The general tendency in art to erase the behind-the-scenes processes and techno-material support breaks in the almost clean paws and almost polished surfaces that betray the labour striving to erase itself.
Text: Malene Hagen
