“The Walls are Caving In and I Don’t Believe in Them Anymore” employs a doorknob (a hologram) and a key attached to a 6V motor. A viewfinder allows two different vantage points and gives entrance into a narrow opening where the key is stuck in a perpetual state of “unlocking.” The “doorknob” resists the key’s constant attempts to physically interact despite its deceiving three-dimensionality. How did something evanescent become an aesthetic? The simulation has replaced the real doorknob, asking was there ever any real? Perhaps there is no actual doorknob, only a construct created by this image. “Simulation is no longer that of a territory, a referential being or a substance. It is the generation by models, of a real without origin or reality: a hyperreal”(Baudrillard 1). I wanted to explore further this idea that “with (simulation) goes all metaphysics. No more mirror of being and appearances, of the real and its concepts” (Baudrillard 1). Is it now a sign which dissimulates something rather than nothing? If it is, then this image of the doorknob is not hyperreal, but becomes a stand-in for something that is actually “nothing”.
Baudrillard, Jean. “Simulacra and Simulation.” Jean Baudrillard: Selected Writings. 2nd ed. Palo Alto, California: Stanford University press, 2007, 61-78. Print.