And suddenly … time stopped and the world stopped. At that moment, at that precise moment in which a single image can be worth more than the thousand words they say can be worth an image like, without going any further, those created by Simon Stlenhag. An image, powerful and harmonious, capable of being etched in our memories, of striking our hearts and plunging us fully into our not always agreed mortality.
‘Tales from the Loop’ explores the environment and life of the different people who live in the vicinity of the Mercer Center for Experimental Physics (MCEP), also known as “The Loop” by locals: Facilities that house a machine designed to decipher and explore the mysteries of the universe, capable according to publicity “of doing things that were previously relegated only to the field of science fiction”.
In the enigmatic city of Mercer, Ohio, United States, a total of eight stories, independent and autonomous but at the same time interrelated and complementary, employing its very precise fantastic ingredients such as eighties, may or may not be the 80s. catalysts of his emotional melodramatic purposes. Science fiction at the service of emotions, science and fiction at the service of the human being.
‘Tales from the Loop’ It is inspired by the images devised by the aforementioned Simon Stlenhag, a Swedish illustrator known “for painting ordinary people in strange environments”. A retro-futuristic universe in continuous and constant expansion marked by rural environments, the prodigious decade and futuristic technology. Together, scrambled and combined, in a cold, harmonic and beautiful visual universe interconnected in its scattered and random amplitude.
As on the digital canvas, the series is developed around an idea as defined as it is abstract: The Loop. Or in Spanish, “el Bucle”. An idea, or a set of ideas, that offer a vital mosaic derived from all the unexpected consequences of building a particle accelerator. A concept, or a sum of concepts that, broadly speaking, define, through small strokes, that machine as improbable and fallible as the human being.
It is the spiritual union of each and every one of its elements that, as in ‘The Leftovers’, emphasize the emotional aspect of a fantasy as organic as it is impossible, supported by the overall perspective, the parsimonious sense of narration and a wonderful visual and especially musical accompaniment. A mosaic that, like life itself, is the fortuitous, timeless and universal consequence of the human essence, before the gravitational singularity that, on the other hand, endows it with character.
And suddenly … time stopped and the world stopped. At that moment, at that precise moment in which a single image can represent more than a thousand words, as it can mean absolutely nothing without the support of the due and opportune incentive (visual and / or sound). It is not so much a matter of action as of reaction, instinctive, genuine and at the surface of a feasible possibility colliding with the premeditated simulation of a fiction stripped of free will.
‘Tales from the Loop’ it is a faithful, honest and trustworthy representation of what it represents, both on paper and of a paradoxical reality that the movement expropriates of mysticism to reaffirm it in its daily conviction. A beautiful and plausible close-up with a clear humanistic burr that reduces blows to the logical consequence of an emotional process, no less anticipating less stimulating in its moving, firm and forceful sensitivity.
Or what is commonly known as a serial fucking marvel that you are already taking to taste.
By Juan Pairet Iglesias