The genesis of this exhibition comes from an interest in combining the words technology and utopia; tekhne- the Greek root for art, and utopia (noun- an imagined state or place in which everything is perfect- from Greek ou (not) + topos (place). The artists in this show explore a variety of merging points between contemporary art and technology.
Robert Geshlider’s sculptures are designed in cyberspace (SolidWorks CAD program), and then ‘printed’ on a 3-D printer made by Z-Corporation. Normally used to ‘print’ 3-D prototypes in high-tech industrial design workplaces, Geshlider co-opts this technology, creating a virtual sculptural workspace populated with virtually derived figures. Their physical manifestations seem almost miraculous.
Andrew Werby uses all manner of high tech wizardry to create sculptural forms. Using 2 and 3-D scanners, computer controlled carving devices, 3-D printers, and of course- computer software, Werby’s pieces begin as natural and organic forms, then shoot through the funnel of technology, scrambling and re-assembling themselves into a myriad of technological juxtapositions.
Therese Lahaie’s kinetic and photographic works are subtle, exploring such contemplative subjects as our breath, heartbeat, even karmic seeds and Tibetan Buddhist philosophy. Employing a variety of combinations of glass, steel, mirrors, electric motors, light sources, and fabric, the overall effect is a dance of light and form in ever-changing and hypnotic ripples of phenomena.
Jon Huffman’s photographic work employs a descending trail of imaging technology. Using a 4x5 studio camera, he makes photographic transparencies of digital video images frozen on video monitors, directly reversing the traditional technological image trajectory. In his large-scale Cibachrome and C-prints, pixels recorded on film freeze and transform themselves into an abstract mosaic patterning, and the ‘utopian’ images of lotuses, dahlias and other garden forms arise from the ‘mud of technology’ becoming once again patterns of light.
Tanya Lin Jaffe’s images are created using a variety of digital and film cameras, x-ray machines and cell phone cameras. She brings them into the digital realm and edits using photoshop and other software programs. Jaffe’s photos are in and of themselves pseudo-scientific experiments conducted and then photographically captured. And there is a quasi-cosmological beauty to be found in the constellational structures of the random archeological bits from the past that she captures using a chiropractors x-ray machine, re-purposed in the interests of art.