These latest sculptures by New York-based artist Amy Brener are something magical. Made of a combination of materials like resin, pigment, and glass (Brener describes these as “totemic structures…of an imagined future,”) these objects combine natural and artificial aesthetics to create something familiar yet strangely distant from a what we know. As the artist describes:
“Some sculptures may be markers for an unknown border, while others hint at vehicular function. Some surfaces are ordered into compositions that allude to touch-screen platforms, energy cells and the digital logic of a different reality. Other surfaces are left to chance: to crystallize, crack under pressure and weather with time. Common sculpture materials such as resin and concrete shed their associations and morph into geological forms. I enforce approximations of natural processes onto my sculptures. Notions of sedimentation, erosion and fossilization come into play.”
- Erin Saunders
Spectrum of Colors Revealed Through Lit String
British artist, physicist, and all-around science enthusiast Paul Friedlander produces kinetic light sculptures that provide a colorful feast for the eyes. Each piece in his body of work offers a visual medley of light and motion by rapidly rotating a piece of string through white light. The vibrating rope becomes invisible to the human eye, but colors from the light (which would normally be invisible to the naked eye) are revealed in rapid succession.
The scientific artist gives insight into the history of his career shift into the arts and explains the science in it all: “I decided to focus on kinetic art: a subject in which I could bring together my divided background and combine my knowledge of physics with my love of light. In 1983, at London’s ICA, I exhibited the first sculptures to use chromastrobic light, a discovery I had made the previous year. Chromastrobic light changes color faster than the eye can see, causing the appearance of rapidly moving forms to mutate in the most remarkable ways.”