Transitioning from digital renders to physical sculptures, my practice with robotic elements became subdued to understand which elements are most essential to the works – space, depth, and motion. Instead of focusing on complicated articulations of robotic gestures, I utilized motors to highlight the facets of a sculpture’s structure and abstract the human form. This led to figurative sculptures of small-scale, 3D-printed people fixed to a motor, with directional-light to emphasize details and cast shadows through the space.
The figurative-representations intend to direct the attention towards the details and flaws of the fabricated structure. These representations proved conceptually troublesome, and the familiar forms of human bodies complicated the composition with questioning concern for the plastic people’s homologous characteristics. The current iteration abstracts the form further from recognition, with attention towards the cyclical movement and color offsets.
Further reorganization of essential elements led to the elimination of representational content within my most recent studio-investigations. Now light itself is both the artistic medium and the subject of the work. My current intuition is that simple components can produce perceptually-stimulating experiences. In this way, I hope to compose a variety of thoughtful abstractions, with specific aesthetic qualities that stimulate the audience by neurological impulses; thus, leading to an instinctual acuity of the abstract visuals.