+ABOUT THE WORK

Sympathetic Motion includes four large-scale sculptures that are detailed in fabric design and their movements. Each sculpture inherits distinct characteristics that formally and technically distinguish them from the other pieces in the series. They also have different spatial relationships in regard to one another.The movement of each piece is programmed but result in random movements through the ineraction of mechanics,the fabrics and skeleton of the sculpture.

While developing this project, I was interested in systems that make up and surround the artworks which concern interconnectivity, logic, memory, emotion, and interaction. The sculptures and the systems they create become an extension of the architecture for the audience to interact with. All of these elements give the audience a sense of liveliness.

I was specifically interested in how behaviors and feelings are evoked through observed movement and why humans instinctively characterize something that is in motion. I wanted to understand further how humans' reaction to moving objects changes depending on different design qualities and motions of the objects. The design decisions, therefore, are made to exploit the human’s need to bring moving objects to life and give them an experience of interacting with something non-identifiable and non-human. The various colors, shapes, and movements in my artwork direct how the audience perceives the sculpture and the site that surrounds it.

+ABOUT THE WORK

Please keep in mind the writing for this piece is still might chance but at a first glance, things that have carried on from my past research:

While working on the 3 pieces (showing only the big one we agreed on below), I had a couple of things in my mind. First, my research on movements , and second my interest in experimenting with the sculpture’s installation in different architectural spaces and how the interaction between the audience, sculpture, and space may alter according to the design and movement of the sculpture.

My research on the movement started with the first series of Kinetic Sculpture series I made. I was interested in the secondary surprise motion that arises from the meeting of the mechanical elements and the structural elements of my pieces. I categorized parts of the art pieces as the skeleton, muscles, and skin. Skin is fabric, skeleton, the harder elements ( in this case; corrugated plastic and tubes), and the muscles, the mechanics. I continued this investigation on motion in these pieces also because I was particularly interested in experimenting with flat shapes turning into 3D shapes that take space in a given architecture. This is particularly apparent in the bigger piece. This takes me to my interest in how we move through architecture and architectural mutualism.

Gordon Pask defines architectural mutualism; “a building is only meaningful as a human environment. It perpetually interacts with its inhabitants, on the one hand serving them and on the other hand controlling their behavior. In other words, structures make sense as part of larger systems that include human components and the architect is primarily concerned with these larger systems ...meaning mutualism between structures and men or societies.”

As the visitors enter this installation and walk through they have to change their behavior to walk around the sculpture which is installed in a “living space” in this case. Or they can choose to wait for it to flatten and walk under it. The sculpture in this case is an extension of the architecture this creates an interaction between the architecture and the visitor.

The documentation of the pieces will be updated soon.