RMS:
In the photographs, I want viewers to briefly question the piece's existence, I want them to ask at some point when viewing the photo, is this a rendering, was this object photoshopped in? If and when these question are asked, it places the item at a sort of nexus for the viewer; where digital renderings simulating real objects converge with, material objects realized through digital technology.
The form in this piece references the way a biological organism might construct something. The shape also contains allegory to the optimism of mid-century, the ideas of counter culture architects like Buckminster Fuller, Ant Farm, and Drop City in their struggle to spread both real and utopian ideas.
I want the inflatable to take on a sort of objective beauty, I want it to feel the same way it does to pollute. Human beings don’t pollute and litter out of intrinsically malevolent reasons, it occurs out of carelessness, greed, and excess. When a person drives a car, eats a hamburger, turns the lights on, or makes a piece of art they do it, because they either need those things to participate in society, or because they enjoy them.
In 2013 the average American emitted more than 44 kilograms of carbon dioxide on a daily basis. This wind powered inflatable represents the volumetric space that this gas takes up. Using the wind to inflate the piece makes it dependent on the weather which in turn is dependent on the climate. When the object pulls on the participant holding it, due to a gust of wind, the work it becomes an actant and shows the ability of a nonliving object to overwhelm a human beings own individual actions.
In the photographs, I want viewers to briefly question the piece's existence, I want them to ask at some point when viewing the photo, is this a rendering, was this object photoshopped in? If and when these question are asked, it places the item at a sort of nexus for the viewer; where digital renderings simulating real objects converge with, material objects realized through digital technology.
The form in this piece references the way a biological organism might construct something. The shape also contains allegory to the optimism of mid-century, the ideas of counter culture architects like Buckminster Fuller, Ant Farm, and Drop City in their struggle to spread both real and utopian ideas.
I want the inflatable to take on a sort of objective beauty, I want it to feel the same way it does to pollute. Human beings don’t pollute and litter out of intrinsically malevolent reasons, it occurs out of carelessness, greed, and excess. When a person drives a car, eats a hamburger, turns the lights on, or makes a piece of art they do it, because they either need those things to participate in society, or because they enjoy them.
In 2013 the average American emitted more than 44 kilograms of carbon dioxide on a daily basis. This wind powered inflatable represents the volumetric space that this gas takes up. Using the wind to inflate the piece makes it dependent on the weather which in turn is dependent on the climate. When the object pulls on the participant holding it, due to a gust of wind, the work it becomes an actant and shows the ability of a nonliving object to overwhelm a human beings own individual actions.