Karen Harkema South African, b. 1969
Thermal Resonator (Figure in Red Noise), 2025
Reclaimed circuit board, cooling fan, integrated circuit,
wiring, acrylic on panel
wiring, acrylic on panel
50 x 50 x 3 cm
Copyright The Artist
Thermal Resonator functions as a Dia Logos between the internal, rigid architecture of hardware and the expressive, layered marks of the human hand. It explores the concept of the machine...
Thermal Resonator functions as a Dia Logos between the internal, rigid architecture of hardware
and the expressive, layered marks of the human hand. It explores the concept of the machine as a
molecular entity that requires specific arrangements and maintenance, such as cooling, to
survive, mirroring our own biological needs. The left panel features a translucent green circuit
board trace, stripped of its original housing, and a small cooling fan. These elements are
preserved in their unmade state, revealing the aesthetic atoms of construction. The fan, a
mechanism for breath and temperature regulation, sits silent, a ghost in the machine.
The right panel features a grid of painterly, rectangular marks in shades of red and green, created
in a generative formulaic way. However, the dominant feature is the rebellion at the bottom of the
panel. A black integrated circuit component acts as a hub for a dense, chaotic nest of red wires.
Through techniques of knotting and wrapping, the technical conduit is transformed into organic,
root-like structures.
This is the Analog Rebellion, the human voice pushing back against the binary
of the machine. If the keyboard and the circuit are how we speak to the machine, the red wires are
the analog scream, the unruly textile of human emotion
that cannot be contained or quantified by the machine’s logic
and the expressive, layered marks of the human hand. It explores the concept of the machine as a
molecular entity that requires specific arrangements and maintenance, such as cooling, to
survive, mirroring our own biological needs. The left panel features a translucent green circuit
board trace, stripped of its original housing, and a small cooling fan. These elements are
preserved in their unmade state, revealing the aesthetic atoms of construction. The fan, a
mechanism for breath and temperature regulation, sits silent, a ghost in the machine.
The right panel features a grid of painterly, rectangular marks in shades of red and green, created
in a generative formulaic way. However, the dominant feature is the rebellion at the bottom of the
panel. A black integrated circuit component acts as a hub for a dense, chaotic nest of red wires.
Through techniques of knotting and wrapping, the technical conduit is transformed into organic,
root-like structures.
This is the Analog Rebellion, the human voice pushing back against the binary
of the machine. If the keyboard and the circuit are how we speak to the machine, the red wires are
the analog scream, the unruly textile of human emotion
that cannot be contained or quantified by the machine’s logic
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