... constantly working out the details...

... constantly working out the details...

Saturday, April 19, 2008

Sigmund Freud is a hack.

So what is so sexual about this work? Though it is difficult to directly put your finger on, (no pun intended) there are elements that are mysteriously erotic about these works. Many of the elements vaguely imply a nebular round shape. Flopping and sagging over time, the shapes come to a point defined by a co centric smaller circle of similar, yet rougher often darker materials. Some forms are long ovular shapes, which stand on end when activated. at other times the work seems to fold in on itself, creating fissures, and enveloping voids, becoming more and more entangled in itself. These elements combine, interact with each other, through inflation and deflation, undulating, bouncing and shaking, in a slow almost rhythmic cycle. The cycle, remarkably runs in three phases. Upon initial interaction the work stirs, slowly coming to life rising and swelling, until at last things come to a head, the work is at its maximum turgidity, and is in full bloom. this climax lasts until the stimulus ceases, and a third phase of slow, steady decent in action begins. at last, the piece returns to its original state calm and peaceful.

Although this is not what any of the work claims to be about, it is an interesting coincidence. nothing concrete, plenty of suggestion. Like the idea of personal space, it invokes the question of the viewers relationship are we reading into the sculpture, or is the sculpture intended to read this way.

The Work

Enough talk, here is some more visuals for you

Personal space

The idea of personal space is confronted in this body of work through the same interaction as the other concepts presented. In each piece the work begins innoculously laid out on the ground, harmless and non-invasive. As the cycle of the work progresses the pieces grow and consume more realestate, meanwhile rising to an imposing height, and pressing out against the viewer. At this point, the viewer would make a choice, continue interacting with the work or walking away, leaving the piece to its own devices. Is this interaction all one sided? Are viwewers leaving the sculpture based on an invasion of privacy, cramped space, or threatening imposition? Is the sculpture declaring its own space? in the case of the more mobile sculptures the changes in orientation and position add to the idea of art chasing away its appreciates. The sculptures are almost parasitic in the sense that they require concious interaction to become themselves while taking up more space than can be tolerated.

Wednesday, April 16, 2008

the Dark ages

Just for fun, before i started uding Rhino to draft these projects, I was doing the math longhand in a notebook. here are some shots of that process.

This is the image where i used the formula for elipses to define the profile curve of an elipse which was 3x4.

Once i had the coordinaates for various points along the curve, the distance formula is used to calculate (surprise) the distance between them.

From there the diameter of the elipsoid shape is determined at said points along the lines. and from that a circumferance ratio for lattitudes parrallel to the equator is determined.
These ratios are used with the desired dimensions and number of gores to create a model templates . here is one for a piece with 16 gores which is 1 meter wide at the equator and 1.3 meters long. (a 3:4 Parabolic measurement)
Show your work.
the fun part about all of this is the fact that the texts that i used to research this loved to use the phrase basic high school mathematics dictate that ...

kind of a blow to the ego, but at least feel prepared for the SATs now.

Sunday, April 06, 2008

take your ball and go home II

So why include the viewer, who invited them to the party? As the activation of sense in the visual arts becomes less and less about visuals, and the world of high definition, surround sound, blue ray, blue tooth, interactive wireless interface, home theater, Ipods, Digital animation, netflix, youtube, movies ondemand, IMAX, Satellite television Radio, HD radio, gives a thousand other reasons not to leave your couch, complacence gets easier and easier. What was once entertainment, becomes decoration. Involving the viewer and giving control, creates a more intimate experience with the piece. essentially attatches someone to what would otherwise be an inatimte object. Removing the implied vestibule around the traditional gallery object counters the alienation brought on by the sterile environment of the gallery space. "Yes these pieces were made for you, in fact, they are worthless without you."
In these pieces in particular, the fact that the viewer breathes life into the work alludes to a relationship of nurture, a solicitous concern for the condition of what one has taken part in the creation.

Friday, April 04, 2008

Take your ball and go home.

The observer has a critical role in these pieces, without the viewer, the piece is really just a pile of material and somewhat simple wiring. At this point it is difficult to say where exactly the viewer comes into play, and how, but the viewer will have to make choices about the level of involvement that they have, and those decisions will ultimately control outcome of the piece.

Several interfaces were considered, and may be enacted. from a motion control system, where the viewer is noticably a part of the piece, and controling it though thier actions. The movements that they make and the time that they spend with a piece will control the volume and mass of the piece itself. A timed cycle originally persented itself as an obvious solution to the problem, but it removes the level of control from the piece in the end. Esentially the viewer becomes a finger operating a light switch which inevitably turns off.

So if motion, how about a direct control, that way there is obvious viewer control and freedom to exit the piece at whatever time things get out of hand for the viewer.

The pushbutton switch, something that a "volunteer" can operate, that will momentarily activate tha system, as well as de activate when the viewer becomes complacent, intimidated or just plain bored with what is happening.

A thermostat, which only activates sculptureal system when enough people have assembled to see it.

Lights shounds colors and rumors there isnt much to report on until any of it becomes factual.