Prins of Ne†works takes as its departure point the demise of nobility; nowadays: the demise of elegance. Within the digital-arena era we live in, there is no statute, title or land worth value no more. A new order has arisen based upon pure knowledge and skill-driven metaphysical labour. Out of necessity we build up webs, forming an immense net where virtual avatars and digitally freed identities populate, exist and occupy. Unavoidable digital monuments are being built, collectively and compulsively assembled and composed. There’s no sense in gazing back; there’s no non-sense. Finally dissolving the task of either sense-creating or sense-making, we rather focus on and gaze towards the remote, the unattainable: The Continuum.

Prins of Ne†works materialises as an experiential capsule where we gather to visually reflect upon different states of matter and its natural cycles. This particular research focussed on the cultivation of flies: flies as material, as electric and super advanced technological creatures. Out of decomposition an insect (technology) is born and dies again. It’s about the rise and fall of predetermined systems that eternally fail to break the unbreakable hand of nature, eternally serving it because it is intrinsically embedded in us all. No matter can ever be regarded as artificial: being the artificial is just one more way of Nature manifesting itself.

Twinning art production with the chemical process of decomposition, Prins of Ne†works is a visual manifesto probing new ecologies, that blends the digital and the analogue as one. It reconciles ‘the human’ with ‘the being’ by virtually subtracting the human of the equation, highlighting the being in the rest of it all.