Mass communication has a long history of being weaponised and in some cases can cause more harm than firearms. Sculpture in the digital age is perhaps an intervention in society rather than in matter, and makes use of space as an agent that connects everything to everything: objects, sounds, software, machines, people and time.
(Re)Diffusion, attempts to create a sculptural situation that has the ability to distort space around meaning and modify it in real time. Sculpture can go beyond simply being looked at and “(Re)Diffusion” investigates this by reconsidering how sculpture is engaged with, across multiple levels and modalities.
Through the addition of sound, and perhaps an invitation and illusion of touch coupled with technology, elements which are usually alien to sculpture extend its range into further spatial and temporal directions. Time which is usually absent in sculpture, is integral to sound related practices and gives the ability to sculpture to create temporary montages and meaningful, or rather intentional relationships with the audience. This reflects on the personal relationship we somehow build with mass media which is made to target the masses, however is always perceived as directed to its receivers in a personal manner
(Re)Diffusion (2017)
Mass communication has a long history of being weaponised and in some cases can cause more harm than firearms. Sculpture in the digital age is perhaps an intervention in society rather than in matter, and makes use of space as an agent that connects everything to everything: objects, sounds, software, machines, people and time.
(Re)Diffusion, attempts to create a sculptural situation that has the ability to distort space around meaning and modify it in real time. Sculpture can go beyond simply being looked at and “(Re)Diffusion” investigates this by reconsidering how sculpture is engaged with, across multiple levels and modalities.
Through the addition of sound, and perhaps an invitation and illusion of touch coupled with technology, elements which are usually alien to sculpture extend its range into further spatial and temporal directions. Time which is usually absent in sculpture, is integral to sound related practices and gives the ability to sculpture to create temporary montages and meaningful, or rather intentional relationships with the audience. This reflects on the personal relationship we somehow build with mass media which is made to target the masses, however is always perceived as directed to its receivers in a personal manner