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An act of benevolent shaming: re-fabricated moon rocks

3d software, 3d printed plastic filament, cut vinyl, paint, text, podium.
Artwork by [user-name]

"An act of benevolent shaming" is an act of recompense for past transgressions and absent-mindedness: the re-fabrication of the lost moon rocks.

Over 840 lbs of soil samples and rocks were brought to earth by the Apollo astronauts. These are distinct from objects which have, unaided by human endeavor, otherwise made their way earthward (chunks of the moon, for example, dislodged by meteorites). Of these samples, an alarming and embarrassing amount have "gone missing". Inspired by images of “Lunar Sample 71575”, for instance, nestled amongst its brethren, I am attempting to put the band back together again.

There are 12 moon rocks. 12 like the number of the apostles, or inches in a foot, or the hours in a half day: a form of marking that dates from a time when math and fiction shared more common roots.

The rocks were fabricated using a 3d printer. The models were created using a mix of applications, including Blender, Sketchup, and netfabb Studio. From bits to solid forms: a sort of modern alchemy. There is also a stylized cut-vinyl crater on the wall. Brand awarness and logos have of course now made their way to the moon.

"An act of benevolent shaming" is part of an ongoing project which combines images, objects, and text.  Titled "Moonfarming - an Illustrated Encyclopedia" the project is an experment in 3d storytelling, exploring nostalgia, data, and the common need for a place of fantasy.

Shunyatan Flow

3D scans, video
Artwork by [user-name]
Artwork by [user-name]
Artwork by [user-name]

'Shunyata' is Sanskrit terminology referring to an absence of ego conceptualization, or emptiness in the absence of thought. 

"At the boundary, facing the truth of the infinite, to which I am truly connected.  That which understands through non-syntactical thought. Lit directly by a high-latitude sun, covered by shallow lakes, stretching from the edge of humanity to the edge of the earth.  

At the boundary, I sense a resolve.  Death looms less as and ‘end’. It’s like I’ve walked a thousand miles north to find where a singular individual resolves themselves, extinguishing all sirens for a free-floating bandit.

I have an affinity for high latitudes and oceanic boundaries – the boundary to the edge, as if that’s where all of humanity resolves itself, simply by addressing its limits."

At the boundary to the Polar Eternities, with my back towards Tahiti, a Shunyatan wind blows towards the frozen infinite, the great void, the emptiness that subconsciously connects all life, the dark ocean common connecting the light of a ship far out in the dark sea to the light of its home port. My Tahitian self disintegrates.

Décharge de Rebut Toxique

JPEG file texture on 938 kb 3D polygon augmentation in Layar proprietary .l3D format for Android and iPhone mobile devices
Décharge de Rebut Toxique
Map of Décharge de Rebut Toxique
Décharge de Rebut Toxique is an augmented reality public art project built for smart phone mobile devices. The public can simply download and launch the Layar Augmented Reality Browser app on their iPhone or Android and aim the devices’ camera at the area around Green Street Station and all other outbound south Orange Line stations. The application uses geolocation software to superimpose computer generated three-dimensional art objects, enabling the public to see the work integrated into the physical location as if it existed in the real world. Instructions:
  1. Download the Layar Augmented Reality browser to your iPhone or Android now
  2. Launch the app and search "COLLISION16" or click
La conquête des espaces, Marie Lechner, Libération.

the phenomenology of painting (Albers machine)

3 stretched and gessoed canvases, 3D animation with sound, software, video projector, speakers, computer
Artwork by [user-name]

This new body of work is an extension of my previous explorations, in which I created a series of interactive installations and sculptures featuring lifelike 3D animated forms. That work investigated empathy, and the way we come to identify with the objects of our gaze, be they living or technological. In this new work, which I am calling “unspecific objects” (in both parody of, and homage to Donald Judd’s famous essay, Specific Objects), my goal is to use projected 3D animation combined with material forms to create objects that have a strong physical, almost lifelike presence. Despite their simple formal constraints, they elicit an awareness of our process of perception, and the difference between perceiving and knowing. They also expose the anthropomorphism latent in our perception of even the most minimal of objects.
the phenomenology of painting (Albers machine) specifically explores the relationship of abstract painting to spatial illusion. Throughout the last 100 years there has been much discussion of the “nature” of painting, and the relative value of acknowledging the flatness of the picture plane vs. explicitly creating the illusion of depth. This piece both pokes fun at and investigates these stances by creating the illusion of depth in three wall-mounted objects that very closely resemble Joseph Albers' paintings from the series “Homage to the Square.”

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