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Currently I am exploring ways of dissolving the boundaries between cinematography and sculpture. My recent investigations of this theme have involved the use of computers combined with mechanical elements to create mandala like installations. These installations are my medium and I use them to create ephemeral animations. This ephemeral content is the focal point of my work.
These works have been exhibited at various international festivals: Festival TransAmériques, Montréal, Canada. “Dance Machines” Lille3000, France. RIAUS, Royal Institute Adelaide, Australia. VIA Festival, Maubeuge, France. EXIT Festival, Créteil, Paris France. Amber`09 Technology and Arts Festival, Istanbul, Turkey. Incheon International Digital Arts festival, South Korea. WRO Expanded City Media Art Biennale, Wroclaw, Poland. Kapelica Gallery Ljubljana, Slovenia. E-Art Festival, Shanghai, China. Almost Cinema, Vooruit, Gent, Belgium. Ars Electronica, Linz, Austria.
Composite Plastic, Steel, Industrial Computer, Compressed Air Components
4.5m x 4.5m x 1.5m
In my recent work I have concerned myself not only with the sculpting of three dimensions but also with a fourth: the dimension of time. I have attempted to create work that falls somewhere between conventional notions of pictorial art and performance. “Arabesque” is the natural continuation of this exploration – a real time animation.
With its roots in Mary Shelly’s “Frankenstein” and the alchemist’s laboratory, the installation presents itself as a mechanical flower: a simulacrum of nature. Life sized human body parts, impaled upon steel, move and sway and dance. The limbs, translucent and livid, bare their internal robotic mechanisms to the gaze of the viewer. The wiring itself is an aesthetic expression deliberately integrated into the installation to bring chaotic lines of abstract form to contrast with the organized symmetry of the body parts.
The lifeblood of this organism is air and when activated this air flows invisibly, bestowing movement to these mechanisms and its presence is only betrayed when exhaled loudly from the valves attached to the serpentine air hose. This combined with the rattle of relays and the tandem clattering of pistons to produce a hyper-modern accompaniment to the music of Strauss.
Part cinema, part theatre, “Arabesque” can be viewed form a multitude of angles, revealing a kaleidoscope of beautiful shapes and patterns created from the human form.