Growth (in)Formed
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Growth (in)formed is a project utilizing sculpture as a process by which to explore the body, ecology, and technology. The works produced for this project are experiments merging living organisms and digital manufacturing methods into figurative forms that comment on humanity’s status as part of a larger ecology. This collaboration is a key to the evolution of humanity in harmony with planet Earth. Growth (in)formed works using living organisms and systems to illuminate the interspecies connections that make life possible. Sculpture becomes a catalyst that pushes us to realize our place within the larger ecosystem. These sculptures are designed to change appearance by way of decay and production over the course of time. Their connection with organic materials gives them a lifespan that is with a different scope of time and rate of change than more traditional mediums.
Each sculpture is made with a combination of digital manufacturing technology and natural process. The digital processes involved include 3D scanning, 3D printing, and CNC milling. 3D scanning is the process by which a digital model is created through a combination of photography and laser measuring. 3D printing is an additive production process in which material is added in layers to create the shape of a digital model. CNC milling is the subtractive manufacturing method by which a form is achieved by carving a shape from a block of material. The natural processes involved in this groups of work include, growing vegetation and mushrooms as well as the effects of time, temperature, and humidity on materials like wood, wax and soil. The materials used in these works are very important as they directly relate to both the concept and the processes. The Foundation of Animalia and Fungi for example features legs milled in oak logs. The legs originate from 3D scans of the artists body. The milled legs are then inoculated with shitake mushroom spores. Next the spores are covered with beeswax to help control moisture. The legs are then kept wet and indoors for the duration of the winter. Once spring arrives they are moved outdoors. The mycelium will run through the logs, waiting for the right conditions to fruit. Oak was chosen as the wood to carve because it is the optimal material for shitake to grow in. The whole process of this work incorporates the life cycle and the connection between species within the ecosystem. The death of the tree sprouts life in the mushrooms, which will sustain other animals, while breaking the tree down into soil for other plants to thrive. All of this happening in a human form reminds us of our place in the ecosystem. In addition to this we see both our fertility and mortality. The legs are our foundation and base, just as mycelium are the foundation of both fungus and the forest ecosystem. The next work also utilizes mycelium, it is titled Myco Action. The process started with a 3D scan which was digitally manipulated. These scans were programmed and milled with the robot. Once the arms were milled and assembled, silicone molds were made of the arms. These silicone molds were then used to cast the mycelium material. I found a company called Ecovative Designs that sells kits which contain corn husk and mycelium. It is a two to three week process to prepare the mycelium kits, they require water and flour to activate the spores. The mycelium grows, then you break it apart and press the material into your mold. You wait another two weeks for the mycelium to regrow. The piece comes out of the mold a living network of mycelium. At this point the piece is dehydrated to create a strong foam like material. The arms are how humans labor and effect change in the world. We use them to build things, to make connections and reach out. The networks we seek to create are similar to the networks mycelium make with the goal to strengthen communication and structure. Fertility, reproduction, and growth rely on more than just one body. They require partners, relationships, and interaction. The bulk of the works focus on the masculine, but there is a part of my process that needs to address the feminine. Sandro Botticelli’s The Birth of Venus is a symbol for fertility and beauty, this sculpture takes this iconic pose and inserts the beauty of motherhood instead of the worship of youth. I 3D scanned Stephanie in this pose, adjusted the model, programmed and milled the sculpture in wood. I chose maple to carve for this work and the title became Maple Mama. This work is displayed at the center of the room. It is placed on a wooden pedestal becoming the tallest object in the room. It is surrounded by the seed army, each ceramic pot sprouting green vegetation directed at the female figure in the center. The ceramic figures are on wooden pedestals of different heights, but they are all low to the ground. The grouping suggest both worship and attack. The Maple Mama is already impregnated but she is surrounded by little phallic vessels. These vessels are on the attack, but they are too late and they are also somewhat comical as they are themselves something feminine with their vegetative growth sprouting forth. The lower half of the body is the base, connection to the earth, locomotion, and includes sexual organs. I wanted to use clay to reinforce the connection to the earth. Instead of milling like the other sculptures, I utilized 3D printing to additively create these sculptures. I went from a full human scale sculpture to creating 1/5 scale sculptures with this piece. I also wanted to explore multiples at this scale. The pose resembles little green army men as I designed a base to mimic the oval like base found on the toys. This work is titled Seed Army. The idea of creating multiples of these little lower halves of men is a comment on male fertility. These little sculptures become pots to grow plants, so these little phallus wielding sculptures are abundant in number and are growing life from seeds. in addition to celebrating male fertility they also work to question traditional roles in nurture and growth by turning these celebrations of masculinity into vessels. The work Dirty D began with making a full scale human figure. The sculpture is based on a 3D scan of the artist milled in foam. The foam carving is then finished with soil and grass seed. The form chosen holds a possibility of movement and drama. This figure has a slight crouch, a bend in the legs, as well as a slight twist. The arms are extended but bent at the elbows, they move somewhat in cohesion with each other. The pose recalls someone is action, but what kind of action is unknown. This mysterious man of action would become a part of the landscape. The earth would reclaim the figure and the materials. The work reinforces humans connection to the earth, showing our emergence and return to the soil. Our reliance on the fertility of the soil for our survival. Fungal body is included in this show. This sculpture incorporates themes of humanity and fungus interrelation. See here for more info. Iron Cabbage is the final work included in the exhibition. This work begins with a 3D scan of a cabbage. The model is then 3D printed. A mold is taken from this 3D print and the form is cast in iron. This work is informed by growth and looks to question what we value and how we connect to both our needs and our wants. |
Sculptures
Maple Mama |
Seed Army |
The Foundation of Animalia and Fungi |
Dirty D |
Fungal Body |
Myco Action |
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