WAVE MACHINE
unique in its conception and execution, collectively narrates a story
of transformation and interconnectedness. "BIRD SKELETON" delves
into the themes of technological obsolescence and the inevitable
return of all human-made creations to the earth, prompting reflections
on the cyclical nature of innovation and its environmental footprint.
"BIRD FEEDER" shifts the focus to the origins of life and the continuous
thread of nourishment and growth, using live spirulina to symbolize the
combines organic and inorganic elements to mimic the perpetual
motion and transformative forces of nature, highlighting the processes
of erosion, fermentation, and rebirth.
Together, these works create a dialogue between the artifacts of
human ingenuity and the timeless processes of the natural world. "U
X U I" encourages viewers to ponder their role in the larger ecosystem,
questioning the sustainability of human progress and its impact on the
planet. By weaving together elements of science, technology, and art,
the exhibition offers a multifaceted reflection on the beauty and fragility
of existence, urging a reevaluation of our relationship with the world we
inhabit and the legacy we leave behind.
BIRD SKELETON, 2021
Ready-Made Bird Scooter
"BIRD SKELETON" serves as a piece within the "U X U I" exhibition,
drawing a compelling parallel between the technological relics of
our era and the ancient fossils of Pompeii. This installation features
a Bird scooter, symbolic of contemporary urban mobility, partially
buried in the gallery floor, evoking the imagery of an excavation site.
This artistic intervention suggests a reflection on the fleeting nature
of human innovations, akin to the sudden preservation of Pompeii
under volcanic ash.
By likening the scooter to the preserved remains unearthed in
Pompeii, the work underscores the concept of technological artifacts
as the modern fossils of our civilization. It prompts viewers to ponder
the lifecycle of such devices, from their inception to their inevitable
decline and absorption back into the earth. This juxtaposition invites
a meditation on the echoes between past and present, highlighting
the impermanence of man-made objects and the enduring impact of
human activities on the environment.
In presenting the scooter as a contemporary fossil, "BIRD SKELETON"
articulates a critique of the disposable culture inherent in the rapid
cycle of technological advancement and obsolescence. It challenges
us to consider the legacy of our technological footprint and calls for
a deeper engagement with sustainable practices that respect the
natural cycles of decay and renewal.
BIRD FEEDER, 2021
3D Printed PLA parts, Pyrex glass tube, live spirulina, water,
Sodium bicarbonate, Potassium nitrate, air pump, air stone, UV full
spectrum light, sillicone and PU tubing.
"BIRD FEEDER," the second objecct in the "U X U I" exhibition,
presents a fusion of the artificial with the primordial, exploring
themes of seduction, sustenance, and the origins of life. This
oversized bird feeder, not merely a structure for attracting birds,
becomes a vessel for cultivating live spirulina, a type of cyanobacteria
believed to be among the earliest forms of life on Earth. Through this
juxtaposition, the artwork delves into the complex interplay between
natural evolution and human intervention.
Cyanobacteria, the vibrant, photosynthetic organisms thriving within
the "BIRD FEEDER," are heralded for their crucial role in shaping the
planet's biosphere and atmosphere, marking the beginning of life's
long evolutionary journey. By introducing these ancient life forms
into a man-made object designed to seduce birds, the installation
reflects on the intricate connections between all living beings, from
the microscopic to the avian, and the environments they inhabit.
This artwork raises poignant questions about the nature of
attraction and dependency. The feeder, while serving as a source of
nourishment for birds, also invites them to partake in a cycle that
intertwines the most fundamental aspects of life on Earth with the
synthetic creations of humanity. It prompts viewers to reflect on the
ways in which human-made structures and interventions mimic,
support, or disrupt natural processes and relationships.
In "BIRD FEEDER," the artist invites contemplation on the evolutionary
narrative—from the dawn of cyanobacteria to the present day—and
our role within this continuum. This piece stands as a metaphor for
the artificial landscapes we construct and their impact on natural
cycles and species, urging a reevaluation of our interactions with the
natural world and the legacy of our environmental stewardship.
3D printed PLA parts, jar with sea sand shells and sea water. brushed
aluminum, painted metal, glass, cucambers, garlic, dill, salt water and
rocks.
"BIRD FEEDER," the second objecct in the "U X U I" exhibition, presents a
fusion of the artificial with the primordial, exploring themes of seduction,
sustenance, and the origins of life. This oversized bird feeder, not merely a
structure for attracting birds, becomes a vessel for cultivating live spirulina,
a type of cyanobacteria believed to be among the earliest forms of life on
Earth. Through this juxtaposition, the artwork delves into the complex
interplay between natural evolution and human intervention.
Cyanobacteria, the vibrant, photosynthetic organisms thriving within the
"BIRD FEEDER," are heralded for their crucial role in shaping the planet's
biosphere and atmosphere, marking the beginning of life's long evolutionary
journey. By introducing these ancient life forms into a man-made
object designed to seduce birds, the installation reflects on the intricate
connections between all living beings, from the microscopic to the avian,
and the environments they inhabit.
This artwork raises poignant questions about the nature of attraction and
dependency. The feeder, while serving as a source of nourishment for birds,
also invites them to partake in a cycle that intertwines the most fundamental
aspects of life on Earth with the synthetic creations of humanity. It prompts
viewers to reflect on the ways in which human-made structures and
interventions mimic, support, or disrupt natural processes and relationships.
In "BIRD FEEDER," the artist invites contemplation on the evolutionary
narrative—from the dawn of cyanobacteria to the present day—and our
role within this continuum. This piece stands as a metaphor for the artificial
landscapes we construct and their impact on natural cycles and species,
urging a reevaluation of our interactions with the natural world and the
legacy of our environmental stewardship.
of transformation and interconnectedness. "BIRD SKELETON" delves
into the themes of technological obsolescence and the inevitable
return of all human-made creations to the earth, prompting reflections
on the cyclical nature of innovation and its environmental footprint.
"BIRD FEEDER" shifts the focus to the origins of life and the continuous
thread of nourishment and growth, using live spirulina to symbolize the
combines organic and inorganic elements to mimic the perpetual
motion and transformative forces of nature, highlighting the processes
of erosion, fermentation, and rebirth.
Together, these works create a dialogue between the artifacts of
human ingenuity and the timeless processes of the natural world. "U
X U I" encourages viewers to ponder their role in the larger ecosystem,
questioning the sustainability of human progress and its impact on the
planet. By weaving together elements of science, technology, and art,
the exhibition offers a multifaceted reflection on the beauty and fragility
of existence, urging a reevaluation of our relationship with the world we
inhabit and the legacy we leave behind.
BIRD SKELETON, 2021
Ready-Made Bird Scooter
"BIRD SKELETON" serves as a piece within the "U X U I" exhibition,
drawing a compelling parallel between the technological relics of
our era and the ancient fossils of Pompeii. This installation features
a Bird scooter, symbolic of contemporary urban mobility, partially
buried in the gallery floor, evoking the imagery of an excavation site.
This artistic intervention suggests a reflection on the fleeting nature
of human innovations, akin to the sudden preservation of Pompeii
under volcanic ash.
By likening the scooter to the preserved remains unearthed in
Pompeii, the work underscores the concept of technological artifacts
as the modern fossils of our civilization. It prompts viewers to ponder
the lifecycle of such devices, from their inception to their inevitable
decline and absorption back into the earth. This juxtaposition invites
a meditation on the echoes between past and present, highlighting
the impermanence of man-made objects and the enduring impact of
human activities on the environment.
In presenting the scooter as a contemporary fossil, "BIRD SKELETON"
articulates a critique of the disposable culture inherent in the rapid
cycle of technological advancement and obsolescence. It challenges
us to consider the legacy of our technological footprint and calls for
a deeper engagement with sustainable practices that respect the
natural cycles of decay and renewal.
BIRD FEEDER, 2021
3D Printed PLA parts, Pyrex glass tube, live spirulina, water,
Sodium bicarbonate, Potassium nitrate, air pump, air stone, UV full
spectrum light, sillicone and PU tubing.
"BIRD FEEDER," the second objecct in the "U X U I" exhibition,
presents a fusion of the artificial with the primordial, exploring
themes of seduction, sustenance, and the origins of life. This
oversized bird feeder, not merely a structure for attracting birds,
becomes a vessel for cultivating live spirulina, a type of cyanobacteria
believed to be among the earliest forms of life on Earth. Through this
juxtaposition, the artwork delves into the complex interplay between
natural evolution and human intervention.
Cyanobacteria, the vibrant, photosynthetic organisms thriving within
the "BIRD FEEDER," are heralded for their crucial role in shaping the
planet's biosphere and atmosphere, marking the beginning of life's
long evolutionary journey. By introducing these ancient life forms
into a man-made object designed to seduce birds, the installation
reflects on the intricate connections between all living beings, from
the microscopic to the avian, and the environments they inhabit.
This artwork raises poignant questions about the nature of
attraction and dependency. The feeder, while serving as a source of
nourishment for birds, also invites them to partake in a cycle that
intertwines the most fundamental aspects of life on Earth with the
synthetic creations of humanity. It prompts viewers to reflect on the
ways in which human-made structures and interventions mimic,
support, or disrupt natural processes and relationships.
In "BIRD FEEDER," the artist invites contemplation on the evolutionary
narrative—from the dawn of cyanobacteria to the present day—and
our role within this continuum. This piece stands as a metaphor for
the artificial landscapes we construct and their impact on natural
cycles and species, urging a reevaluation of our interactions with the
natural world and the legacy of our environmental stewardship.
3D printed PLA parts, jar with sea sand shells and sea water. brushed
aluminum, painted metal, glass, cucambers, garlic, dill, salt water and
rocks.
"BIRD FEEDER," the second objecct in the "U X U I" exhibition, presents a
fusion of the artificial with the primordial, exploring themes of seduction,
sustenance, and the origins of life. This oversized bird feeder, not merely a
structure for attracting birds, becomes a vessel for cultivating live spirulina,
a type of cyanobacteria believed to be among the earliest forms of life on
Earth. Through this juxtaposition, the artwork delves into the complex
interplay between natural evolution and human intervention.
Cyanobacteria, the vibrant, photosynthetic organisms thriving within the
"BIRD FEEDER," are heralded for their crucial role in shaping the planet's
biosphere and atmosphere, marking the beginning of life's long evolutionary
journey. By introducing these ancient life forms into a man-made
object designed to seduce birds, the installation reflects on the intricate
connections between all living beings, from the microscopic to the avian,
and the environments they inhabit.
This artwork raises poignant questions about the nature of attraction and
dependency. The feeder, while serving as a source of nourishment for birds,
also invites them to partake in a cycle that intertwines the most fundamental
aspects of life on Earth with the synthetic creations of humanity. It prompts
viewers to reflect on the ways in which human-made structures and
interventions mimic, support, or disrupt natural processes and relationships.
In "BIRD FEEDER," the artist invites contemplation on the evolutionary
narrative—from the dawn of cyanobacteria to the present day—and our
role within this continuum. This piece stands as a metaphor for the artificial
landscapes we construct and their impact on natural cycles and species,
urging a reevaluation of our interactions with the natural world and the
legacy of our environmental stewardship.