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artist statement Although I originally used digital imaging as an element of the design process for public sculpture and installations in the early 90's, I now use the computer primarily for the creation of virtual sculpture and installation. With the recent introduction of 3D prints (rapid prototyping and CNC technology, as pioneered by a number of artists in the late 90's), the "virtual" has returned to the "actual" by creating physical models from digital files. It is my intention to locate a common ground between the virtual 3d still and moving images, and 3d physical prototypes. I find 3D digital media especially conducive to illustrating disturbing social/political perspectives of neoliberal "globalised" modern life. The vicissitudes of neoliberal globalism is one of several reoccurring themes in recent years represented by (clenched and outstretched) hand symbols, speakers, the abstract schematic letters of logic and math (e.g. 'x','y', 'z'), the globe, television, diffused transnational corporate symbols, cartoon characters as corporate metaphors, and other iconic symbols of the modern world. My computer currently functions not only as an aid in visualizing and designing large-scale sculptures or installations, but now it essentially functions as a tool to depict objects that would not or could not be built: impossible images. With an affinity to staged photography, these images attempt through ambiguity of scale, material, reflection and perspective to blur the line between images of virtual and actual objects. The computer prints and videos often capture a virtual image in a believable but slightly skewed setting that is both convincing and unsettling. In this context, the virtual sculptures and monuments are props in a virtual 'installation' that are separate from the real by the edge of the print or video field. Most recently, I have begun creating sculptures directly from virtual 3D files using new rapid prototyping (RP) techniques from digital files sent via e-mail, often to remote sites (in the tradition of the various electronic 'art correspondence production' by Moholy-Nagy and Donald Judd). The RP techniques used have been LOM and Z-Corp. 402 printer processes. |
