An Engine Institute project.
China Blue is interested in how our world is built from our sensations and perceptions and how this emerging umwelt provides not only a basis for exploring the inner world of the mind, but also how technological extensions of our senses, provide a way to transcend their limits. Her work enhances the audience’s perceptual world through her investigations and explorations into bioacoustics, ultra and infrasonic sampling devices, brain wave monitoring, and robotic sensory avatars.
My paintings have come to be more and more engaged with issues of science. After initially training as a physicist, I switched to painting. Over time I have developed a style based on harnessing the fluid properties of my materials to produce painterly effects. Using techniques borrowed from the abstract expressionists, I pour, drip, hurl, etc. I seal the paint in layers of clear acrylic, and then draw outlines to render the resulting patterns as three-dimensional forms. One of the interesting things about this process is that the images clearly suggest organic forms, but at an indeterminate scale. A microscopic size is suggested, but also a macrocosmic or atomic one. This fractal quality of scalelessness is characteristic of the chaotic processes that produce so many natural forms. By incorporating chance and chaos into my painting (in the form of semi-controlled accidents of paint running and mixing) I recreate and reenact my subject matter.
His artwork features complex patterns and forms made by an accumulation of hand drawn marks. Each new mark is applied in response to the previous one and so on. For each piece he sets up a starting condition and devise a set of rules, which are much like algorithms, that limit what and how forms develop. Beginning a piece is a moment of unlimited potential and the final results are often unexpected, which he finds extremely exciting. He uses this emergent process regardless of the media he chooses, and he typically makes drawings, prints, and paintings closely related to the artistic tradition of geometric abstraction.
Ms. Hendryx says she is driven by transformation and Innovation; ‘constant evolution, pushing her limits and seeking new territory to explore.
A certified techie, Nona loves all things technical and Benoit Maurbry build a version of his ‘audio tutu’ e.g. wearable art/sound system, which she has worn in performances in art galleries in London, NY, L.A, Hong Kong & Berlin. more
Richard Humann is a New York City-based American neo-conceptual artist. In his art work he delves deep into both the concept and the idea, while using a multitude of materials to create his installations, sculptures, videos and sound projects. In many of his works, Humann applies the idea of fractals in a scientific, poetic and artistic way to examine the complexity of the personal and universal conditions.
Christopher Konopka is a multidisciplinary artist who researches and experiments with bleeding edge technology searching for new forms of interconnectivity. He focuses on everything from audio programming to video synthesis in an effort to find new ways to streamline standard practices and create new learning techniques. While attending the Berklee College of Music, he studied Computer Music theory with Dr. Richard Boulanger and interconnectivity practices with Tom Zicarelli. more
France Languérand is an artist who lives and works in Paris, France. She focuses on creating multiples and series’ in order to re-establish and critique the notion of authenticity. Languérand also defies the four-wall gallery aesthetic by consistently creating sequential series’ that are too vast for exhibition display. In 2006 the artist exhibited a collection of poems based on randomly chosen words, with the intent to illuminate contemporary culture as a vast repository of data. And, to this date she continues to break down mass culture into visually-based systems that carry only a moment of experience with the intent to document an artistic activity.
Ohno’s works are primarily focused in the areas of sound installation and electroacoustic composition, exploring various dimensions of human perception. In addition to her own work, she has also collaborated with other artists in composition and sound design for films. She has been selected for a residency as one of two composers for the Embedded Spring 2015 program organized by Sound and Music (UK), and is spending more
Ms. Robles-Angel’s work covers different aspects of visual and sonic art, which extend from audiovisual fixed-media compositions to performances
My vocabulary combines light-emitting diodes (LEDs) with contemporary reflective and transparent materials. The works range from the organic to the architectural. The concepts for my installations and sculptures are structural, concerned with the way that form, light, and reflected light merge. My wall works bridge the chasm between the technological and the handmade. I incorporate their materials into the form of the work: wires become lines; transparent and reflective sheeting become spatial illusions; LEDs become objects of various shapes, sizes, and colors. Together they act as discrete elements that form two-dimensional work, while the volumetric nature of their light amplifies and radiates color outward to suggest metaphorical spaces.
My background as a painter gives me the ability to create works with light that are aesthetically rich, while technology provides a way to integrate color and line into the vocabulary of sculpture and architecture. The space I create is artificial but not fictional: a stage set, lit from without and within.
‘Memory Lane’ was inspired from several locations in the districts of Ribadesella and Llanes, Asturias (Spain) which shape Félix Luque and Iñigo Bilbao’s childhood and youth memories. Better yet, these natural environments – strands, rocky areas, woodland – do not simply inspire this project: they literally feed it. Turned into data via 3D scanning and modelling, these locations served as mould to the sculpted pieces the final installation consists of. On the one hand, a camera slowly traveling through a 3D model depicts on two big screens the locations which are now nothing but millions of white dots on a black background. more
Dr. Peter J. Snyder is a Professor of Neurology, at the Alpert Medical School of Brown University, and he serves as the Sr. Vice President and Chief Research Officer for the Lifespan Health System (Providence, RI). Prof. Snyder is an internationally recognized expert in the field of aging and dementia. Since 2011 Prof. Snyder has served as a Scholar-in-Residence at the Rhode Island School of Design, where he co-teaches an Industrial Design course, titled “Designing for an Aging Population.”
Separate from his administrative and academic career, Snyder has logged 28 years of persistent practice and experience as a photographer, ceramicist, wood-turner and writer, including a seven-year apprenticeship under the tutelage of master wood-turner, Kenneth Dubay. Dr. Snyder has long explored how biology, human psychology, scientific practice and visual art are interconnected as forms of expression and communication.
“If the public at large knew more about the workings of nature, it would help to protect our living environment against the destruction that threatens it.”- Karl von Frisch, Animal Architecture
Finding inspiration from nature’s transformations, I explore the beauty and brilliance in things that are otherwise forgotten. Such as the hidden geometry, more
Rome Prize and the Berlin Prize winner, Ken Ueno, is a composer/vocalist/sound artist who is currently an Associate Professor at UC Berkeley. His art practice considers ways in which visceral, embodied musical performance practice can shape the empathic emanation of the aura of specific, performers. His music has been championed by Kim Kashkashian, Wendy Richman, Greg Oakes, Frances-Marie Uitti, eighth blackbird, Alarm Will Sound, the Hilliard Ensemble, and Steve Schick with the San Francisco Contemporary Music Players. Ueno’s compositions have been performed at the world’s leading venues, including Lincoln Center, the Kennedy Center, the Muziekgebouw, Warsaw more
As a Toronto-based sculpture and installation artist, my multidisciplinary works consider biology as contemporary art practice. I explore the biological forces that make us human, from the foundational processes and materials needed to form an organism, to exploring the microscopic world of cellular ecologies. My installations incorporate a range of diverse materials: from wax, paint, sound work, and photo-based imagery, to wire, mosquitoes, salt crystals, and live microorganisms. more
I work with mathematical equations and computer code to craft visualizations that move as harmonic whimsical geometry. Each artificial and artful simulation is driven by my continuing research on the history and mathematics of parametric equations discovered before the 19th century. As an emerging media artist, I hark from the Renaissance attitude of wholesomeness, where science and art progress according to the curiosity that we each feel therein. I am curious to find what metaphysical understandings objects of art can offer in the embodiment of mathematical symbols and computational processes.