Output details

Transformation/ Fragmentation/ Defragmentation/Medusa Touch.

An over-arching research interest is to develop methods of sculptural morphing that enable transformations of sculptural form through (the viewer’s) movement. ‘Medusa Touch’ and other sculptures of this series led to insights on combining 2D planes to enable sculptural transformation. These objects were named Transformative Sculptures by Prof. Kim Namsee (Ewa University, Seoul), referencing postmodernist positions about relativity of truth and reality, as well as current discourse about the nature of sculpture. Becoming, in Asian philosophy and for Deleuze and Guattari, is a process of change or movement within an assemblage. It is an alternative to the conventional image of subjectivity as coherent, enduring and individualized. These works continue and aim to expand the field of traditional sculpture, deconstructing the idea of sculpture as a predictable whole.

As metamorphosis happens through change of the viewer’s position, this exhibition focuses on the well-known “collateral” or “downsides” of dominant political and economic views. This referenced 2D montage as pioneered by John Heartfield and developed by contemporaries such as Hans Haacke. This strategy reveals hidden meanings in topical or familiar motifs, in order to challenge established perceptions and interpretations.

These sculptures are completely designed as CAD or AI files. Thus they can be sent to any factory in the world and executed. This improves sustainability by reducing transport.

The works were curated as a solo show by the AS Space Gallery, a leading art space in Krakow, Poland, as part of a series of shows of well-established international artists, such as Tadeusz Kantor and Roman Opalka, in co-operation with Jagiellonian University and curator Barbara Sliwa, Krakow Academy of Art. Works have also been presented at an invited solo show at F.E. McWilliam Gallery, Banbridge, Northern Ireland, and selected for the Iksan Stone Sculpture Biennale, South Korea.