COLLISIONcollective

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*                        For engineers that moonlight as artists and artists that moonlight as engineers                                         *
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TRANS-ELEMENTAL / Mixed Reality Installation

Aluminum stand, metal box, micro-controller with DC motors and servo, wind chime, video projector, computer
Artwork by collisi1

Can natural elements from a virtual reality take solid form and exist in our physical reality? Can virtual particles affect real world molecules?

This project is a mixed reality installation in which the wind of Second Life is used to move a windchime in real physical space. The virtual wind’s direction and speed are the variables that determine the device’s functionality in real time. This work creates a parallel between these two realities (virtual and physical), showing how they relate and interact with each other, creating a portal from one world to the other.

See video

The Alchemist

Aluminum, wood, mirrored glass, Acrylic plastic, LEDs, Teflon/copper wire
2014
Artwork by collisi1

A geometrically perfect sphere of moving, glowing light is projected to appear to sit two feet outside a small cube atop a pedestal. The imaginary form, not unlike a hologram, churns and flows as the viewer approaches, like a burning star bursting with ever-changing solar flares. The sphere is an illusion created by what is inside the box, which is itself hard to discern. Like much of my work, this sculpture uses illusion, optic tricks, and a clever use of relatively simple materials to achieve an mesmerizing and otherworldly experience for my viewer.

See video

String Theory

Aluminum, electronics, motor
2012
Artwork by [user-name]
Artwork by [user-name]

String Theory is a kinetic-sound-sculpture that incorporates guitar strings and viewer interaction into an abstract physical form. The conceptual basis for the piece is a loose reference to string theory as the main mechanism simultaneously plucks four of the same type string of a six string guitar thus generally referring to different quantum states of particles and their respective vibrations.

The top section of the piece has a motor driven mechanism that plucks guitar strings. This will be influenced by viewer interactions through the use of a control panel. There will also be light sensors that will be connected to a micro controller, which will use the values of the light sensors to dictate the rotation of the mechanism to change the notes produced by the piece - it will switch directions and speeds based on this information. The ‘music’ that the sculpture produces will be somewhat chaotic, which can be influenced by viewer participation. When no viewer is directly influencing the sequence (by interacting with the control panel), the piece will use the previous values of other participants and randomize those values into a new sequence along with the light value readings.

Paradigm II

MDF board, Mirrored Tempered glass, clear plate glass, 532nm laser diode, power source, aluminum and plastic armature.
2012

 

Light is the medium in which I am most interested. I make apparatus that I use to shift, refract, bend and reflect my light to create the atmospheric effects which are my pieces in sculpture. In a recent series of mine, Paradigm, I transform this light to fill a structured volume of space with a dynamic three-dimensional projection. In entering my space, viewer is thrown into a mesmerizing and otherworldly expanse, as relationships of individual point of ethereal light evolve and coalesce in reaction movement. 

The effect, although reached through relatively simple means, produces a three- dimensional image which is felt more that it is seen, spilling out of the great volume of the sculpture and filling the entire space in which it is seen. 

Not only does the work bring the view to question the materials and forms I use to create the effect and illusion, it also brings a precise sort of awareness to the space that it is seen in. How one understands their vision is poignantly brought to the fore as the universal is seen thought the particular. By bringing the viewer into a place of more acute perception, my installations seek to elevate my viewers’ consciousness as they experience a space and their sense in a new way.

See video

Undulum

cast acrylic, wood, aluminum, neoprene foam, motor, phenolic laminate, steel
2011
Artwork by [user-name]

I’ve long been fascinated with the segmented structures of larvae and of spinal forms and their ability to express elegant motion through waveforms and writhing. Undulum is the first attempt in a series of sculptures under development inspired by sinuous motion in nature.

The mechanism of Undulum is deceptively simple and consists of a helically shaped rod that rotates within a flexible sheath, which in turn is anchored. A second, outer, sheath is built of translucent acrylic shapes held apart by preloaded flexible foam spacers and is also anchored. As the rod rotates within the core of the sculpture, the outer sheath rides the convolutions of the inner sheath as it contorts to follow the changing shape of the rod within.

See video

Solar Flowers

Aluminum, Brass, Steel, Rosewood, solar engine
2010
Artwork by [user-name]

I think of Sculptural Robotics first and foremost as a synthetic discipline. It's a way to explore the world around me, and it's also a delightful waste of time. My machines are designed according to a conceptual aesthetic that emphasizes minimalist design elements. I prototype and test my designs just like any roboticist, but unlike most I am not intersted in finding solutions to practical problems. Instead, I'm more interested in finding designs that produce flowing, graceful movement, and that are increasingly autonomous in control and energy acquisition, generation after generation.

Spring

Wood, aluminum, Formica, Garolite, brass, mechanical components, motor
Artwork by [user-name]

Originally inspired by looking at ferns on a walk in the woods, "Spring" is a mechanical abstraction of the same unfurling action that occurs in fiddleheads. The title is a double-entendre referring also to the coiled spring-like shape that the sculpture assumes. In fact, in an earlier version of this piece, there was a coiled spring incorporated into the mechanism.
Spring is the time of year most associated with hope and ebullience of spirit. I wanted to tap into that spirit and create a piece that embodies the gesture of reaching toward the light, in the sense of both offering and receiving. In the calculation of the relationships in the spiral the "golden ratio" was used, resulting in a spiral that is found in many natural forms as they grow. I believe that what in mathematical terms expresses balance and efficiency, by moral extension and cultural expression becomes the universal golden rule of human behavior. Spring is the part of us that aspires to unfold the golden rule in our interpersonal relationships and which is embodied in the gesture of reaching outward toward each other and upward against the drag of negative social pressures.
Ultimately, Spring is forward looking, but acknowledges the cyclical nature of optimism. It is also meant to remind us that optimism and patience go together.

Mechanical Universe, Part I: The Pastoral

Oil paint on wood, aluminum (steel brackets), motors, solar panels, wire, electronics
2008
Artwork by [user-name]

Mechanical Universe originally was created for the Boston Cyberarts Festival and shown as part of the 2007 festival at TransCultural Exchange: Punzo shipped his cyber insects to the Boston, where I created their ‘living spaces’ - part irreverent homage to Donald Judd; part reverent homage to Jean Tinguely and Alexander Calder. But pure Punzo and Sherman.
Each 'box' is a collage of highly textured paint and polished aluminum.
At the push of a button, the doors open at staggered intervals, revealing a host of musical 'cyber insects,' before slamming close. The individual 'boxes' also can be re-configured to respond to the architecture of the space in which the piece is exhibited. The idea is to create an up-dated, modular version of the 17th century Italian pastoral by way of the 21st century
Special thanks to George Bossarte for electronic/programming help; and Nexus Machine Shop and Gallery for use of the shop

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