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Maxwell Zaleski

ID: 1324

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ID: 1324
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Idealized: Spatial Leakage

Positively-charged, plasma popsicle spasm /
Flooded nostrils flare, with the numbing breeze from the snowy haze /
Entombed in a brilliant whiteout of digital noise /

Misplaced memory pixels and specks of misinformation /
Shrouded, lifeless silhouettes drift along elephant tusk bridges /
Unaffected by the intruding observer /

Headed to the abyss, soon to be engulfed by darkness /
Frigid whispers echo out of sight against the alabaster rib cage /
Shadows bend on the polished glacial walls /

Sentinel arctic pillars of stalagmite and dolomite /
Subterranean passages with walls awash in bubbling water entice /
Plunging into obscurity, only to surge up into another celestial crypt /

. . .

Forget about the “exact” or “true” experience of a place, it may not exist. A place is an agglomeration of spaces. It is a purported tapestry within an existing compendium of categorized spaces. Moreover, it is woven by one’s psychology and physiology; the perception of sensory stimuli and their immediate impact on homeostasis; and the individual inhabitants. Revisiting a space can trigger its meaning to mutate, as one takes in new experiential information and synthesizes it. It is during this translation process that humans freely associate with other spatial experiences and create a composite place in their minds. Namely, humans fabricate a shape-shifting place that features other buildings embedded in it.

The stimulating and frequented place portrayed in this series of drawings is an abstract and idealized representation of a glacial passageway at the Mashantucket Pequot Museum in Connecticut. This “Frankenstein place” is a chimera. Beyond the descending corridor lies a hub, with its own radial pathways, which lead to collections of spaces held together by loose associations. Soothing, milky light fills the sacred, immeasurable, sculpted place. It evokes Santiago Calatrava’s Oculus, Jean Nouvel’s Louvre Abu Dhabi, the test chambers in the video game _Portal 2_, and the cavernous, pure geometries in _Blade Runner 2049_. With eyelids sealed, it is here that sequenced spatial memories are traversed and architectural inspiration is found.

“What does a place actually consist of?” Recollections of places can be imbued with misrepresentations, leading to assumptions of what a space will be like when revisited. Each nebulous, non finito composition reveals a borrowed memory that leaked into this alleged singular place. This ambiguity encourages audiences to fill the emptiness with their imagination, facilitating the internalization of these spatial memories [i]. Welcome to the place where spaces combine.

. . .


i. Sooke, Alastair. “The thrilling beauty of unfinished art.” BBC Culture. Last modified April 19, 2016. Accessed February 14, 2021.

Maxwell ZaleskiMaxwell ZaleskiMaxwell ZaleskiMaxwell Zaleski

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