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Work in progress.
“Rust is associated with degradation of iron-based tools and structures. As rust has a much higher volume than the originating mass of iron, its build-up also can cause failure by forcing apart adjacent parts–a phenomenon known as “rust smacking.”
Made from rusty tin cans, Rust Never Sleeps is a metaphor for the slow and often unnoticeable decay of all things seemingly permanent. One day you’re young, the next you’re old and falling apart.
I started working on this sculpture in the fall … reached a point where I couldn’t move forward so I put the piece aside. Found the perfect parts (rusty I-beam and rail road plates) to complete the sculpture in the scrap bin at Boundary hall. All the materials are recycled including the oval laser cut parts which I found in the trash. The rusty cans are from the dilapidated barn behind our apartment in Connecticut.
This piece, Creative Synapse, is an off shoot of the Life Force sculptures. The more representational biology imagery was in part inspired by a TED video by Drew Berry. Berry creates scientifically accurate animations of the microscopic cells inside our bodies. Like scientist, artists can play a role in developing our understanding of the world by representing the intangible.
In her article, Image as Insight :Visual Images in Practice-Based Research, artist and art educator Julia Marshall talks about the connection between art and science through an analogy between the artmaking process and developing a scientific theory. Like a scientific hypothesis, the “art image” illustrates the artist “theory of reality.” Moreover she goes on to say:
“artist are theorist; they question, observe, analyze, synthesize, and hypothesize as scientist do and shape thought into conceptual images, which are often metaphorical…art images manifest an individual artist’s hypothesis or interpretations of reality that resonate with others.”
I started my sculpture by downloading an accurate 3D model of a neuron from the TurboSquid website. Like any object, existing 3d models are there for the taking to be appropriated for artistic proposes. Using Maya, I then modified the size of some of the parts to increase their strength for the FDM printing … I became thoroughly acquainted with the insert edge tool.
Through the creative use of the duplicate with transform tool (Shift+D), I created the composition for my sculpture.
Since I plan to use the FDM parts in a sculpture, I separated the individual parts and suspended them in a 6x6x8 cage for printing. Hopefully the cage will help the delicate parts survive process.
Although the plastic material for the neurons works conceptually with my current piece, I could definitely see this in a much larger cast version.
Unfortunately, I couldn’t print all five parts of the sculpture at once … over a half a million polygons and the file size was unmanageable. After separating the parts, I was able to use the 3-D printer to print one part of the sculpture… I will print the remaining parts and incorporate them into the final sculpture next quarter.
Finished piece for MFA show.
Technological Determinism, 2012. 3D FDM models, forged steel, 46 x 34 x 5 in.
Historically, the role of the artist has been to present us with ideas and perceptions for our contemplation. The goal of many artists has been to create a “critical consciousness” that questions cultural traditions. As Suzi Gablick points out in her book Has Modernism Failed:
“There is always a correlation between society’s values, directions, and motives and the art it produces. Modernism, as we have seen, has cultivated its objects largely as a mode of cultural resistance–as antidotes to a bureaucratically administered and overrationalized way of life.“
The inclusion of forms derived from digital fabrication techniques into my work is an attempt to explore the relationship between technology and society. I agree with historian Merrit Roe Smith’s theory of technological determinism, “the belief that technology is the key governing force in society.” Utopian visions of technology and the notion of “technology as liberator” have been instrumental in shaping the construct of our reality. As an artist, I believe it is important to think critically about the uses of technology.
One of the pieces I’m currently working on, Life Force, clings to the romantic modernist notion that the mark of the artist is a uniquely individual expression of the spirit. The bone-like forms in the sculptures are mechanically reproduced on the laser cutter and assembled into organic compositions. Conceptually, the process is as important as the final art object. By using the technology of industry—particularly, the digital fabrication technology used by “commodity-producers” of aesthetic “goods”—in an improvisational manner and juxtaposing the precise repetitive machine made parts with the free-form elements created by the artist’s hand, I hope to create a sculpture which questions technology’s impact on our identity and perception of self.
With no preconceived form in mind, I experimented in Rhino until I discovered an appropriate shape.I then brought the shape into illustrator to change the scale and create the file for the laser cutter. The notch was added after doing some experimenting upon receiving my first batch of laser cut parts.
Like the pinch clamps and zip ties, the thumb screws are paradoxically both captor and liberator. While they allow me to bind materials together, they also liberate me from making permanent connections … allowing for greater freedom for improvisation.
Moving away from the idea of impermanence, I decided to explore the use of steel as a supporting structure. Steel allows for a variety of different forms not possible with wood. However, it is much more difficult to control and does not allow the subtle twists and bends that wood does.
The piece continues to evolve … decided include some more direct biological references by replacing the metal base with some representational (1/2” ply) hip bonecross sections.
Several hundred parts precut and ready to assemble into a site responsive piece.
Finished piece for MFA show.
Borrowed Time, 2012. Forged steel, laser cut wood parts, 60 x 28 x 32 in
Ode to Brian Dettmer
Brian Dettmer creates some truly amazing sculptures from old books. When he gave a lecture at SCAD last year, I had the good fortune to have a studio visit with him. What I like best about his work is his process: when he begins a piece, he has no preconceived plan. As he excavates the book, he allows what’s inside to dictate the direction he follows and to reveal the piece’s meaning. Reminds me of a quote from the artist Paul Soldner:.
“There can be no fear of losing what was once planned, and there must be an urge to grow along with the discovery of the unknown … make no demands, expect nothing, follow no absolute plan, be secure in change, learn to accept another solution, and, finally, prefer to gamble on your own intuition.”
I thought it would be interesting to cut a book with the laser cutter. My original concept was to create a piece about the abject of beauty in art. I wanted to slice a Victorian lace pattern from a book on contemporary art and then rearrange the pages into a sculpture. Unfortunately, laser burns the book more than I had hoped. The lace pattern was too tight, and the book caught fire when we tried to run it! I had to settle for a simple geometric shape.
Not exactly what I had in mind, but the end result was visually interesting. However, it would be difficult not to get some interesting combinations when you’re working with images of work created by great contemporary artist .
To date, I have created several forms using the serial slicing technique—I really like the texture and patterns of the cardboard. I will combine these with some forged steel elements later in the quarter.
In this experiment, I am using the cut-offs from my laser cutting as well as some that I have found in the trash. Although my past use of color has been limited and I don’t really know what I’m doing with the pastels, I enjoy the process immensely. Who knows, maybe an “art” object will be the end result.
Work in Progress.
Work in Progress
Work in progress.
Sculpture is outgrowing my apartment…need to find an alternative space to complete the piece.
Work in progress.