Month: March 2024

The terms “machine art” and “kinetic art” have been historically used to describe artistic practices that incorporate machines and movement as essential elements. Machine art refers to artworks that engage with machines, often exploring their aesthetic qualities and social implications. Kinetic art, on the other hand, specifically focuses on the use of movement as a primary medium of expression. 

In the reading”Toward the Art and Aesthetics of the Machine,” Jack Burnham discusses different aspects of machine aesthetics in artworks: Associative Relation, Symbolic Reference, Formalist Emphasis, Kinetic Element, and Automatism. Burnham states that the list does not imply a chronological order or represent distinct genres of machine art. Instead, it provides analytical dimensions to understand how artworks relate to technology and the aesthetic qualities associated with machines. To further explore these concepts, I have selected two artists from the Kineticism movement: Jean Tinguely and Hans Haacke. 

Jean Tinguely 

• “Méta-Matic No. 9 (1958): perfectly embodies the essence of Jean Tinguely’s approach, as he proclaims the boring and repetitious nature of the machine. As the quote states, ‘Small “surprises” and breakdowns often disrupt the repetition of Tinguely’s devices.’ This resonates with the artwork itself. By removing the artist’s hand from the production of the artwork the art piece allows anyone to engage with the machine and produce abstract drawings automatically, challenging the traditional role of the artist as the sole creator. The machine’s operation is not a flawless, predictable process. It is precisely these small surprises and breakdowns that inject an element of unpredictability and spontaneity into the artistic process. Constructed using found objects and rudimentary parts, the artwork highlights the aesthetic qualities of these technical designs and structures, thus emphasizing the beauty that can be found in the realm of mechanical creations. Once activated, the machine operates independently, producing abstract drawings unpredictably and haphazardly. In this way, Tinguely’s creation embodies the artistic potential and autonomy of the machine, insulating it from the criticisms of frustrated observers.

• T03823 Metamechanical Sculpture with Tripod 1954: the unpredictable and variable movement of the piece, caused by the relatively gimcrack functioning of the cogs and pistons, critiques the idea of precise control and deliberate artistic manipulation. It invites reconsidering the relationship between the artist, the machine, and the resulting artwork. While T03823 may not explicitly employ symbolic iconography, it symbolically represents the mechanisation and automation of artistic creation. The wire and cardboard construction, along with the tripod base and wire wheels, highlight the aesthetic qualities found in the design and arrangement of these mechanical components, while the interaction between the revolving wheels, the projecting wires, and the unpredictable nature of their engagement creates a dynamic visual experience. Lastly, the electric motor provides continuous power to activate the bottom wheel, which sets the entire piece in motion. 

Hans Haacke

• Blue Sail: establishes an associative relation between the elements of nature, such as wind and air, and the materialistic object of the blue chiffon cloth. The interaction between the movement of the wind and the suspended chiffon creates a visual dialogue between human beings and the natural world. Moreover, the blue chiffon cloth suspended like a sail symbolically references the concept of navigation, exploration, and journey. Thus, the fan serves as the kinetic element in “Blue Sail” as it provides the airflow to create movement resulting in kinetic motion that adds a dynamic. It also captures the essence of automatism through the interaction between the wind, the chiffon cloth, and the oscillating fan. The movements of the cloth are not controlled by the artist’s direct intervention but rather by the environmental factors and the airflow generated by the fan. 

• Condensation Cube:  Haacke’s use of the cube as a containment vessel for water creates a closed physical system that mirrors the idea of a living organism interacting with its environment. The random forms taken by the water droplets as they run down the walls of the cube reflect the unpredictable and organic nature of growth and movement. The construction of the cube and the clarity of the material highlight the aesthetic qualities of transparency and simplicity.  Although “Condensation Cube” does not possess explicit mechanical motion, it incorporates a subtle kinetic element through the continuous process of water evaporation and condensation. Therefore the piece captures the essence of automatism through the reliance on natural physical processes. Haacke relinquishes direct control over the outcome, allowing the condensation process to unfold freely within the statistical limits.

Title
Scintillate

Project Description

“Scintillate” is a light sculpture that explores the transformative power of love and the beauty found within brokenness. The concept is inspired by two distinct sources: the Japanese art of “Kintsugi(金継ぎ)”,  which involves repairing broken pottery with gold to celebrate its imperfections, and the captivating light sculptures created by Tintin Cooper, which gracefully merges light, space, and sculpture. By merging these influences, the intention behind this project is to create a sculpture piece that symbolises brokenness and beauty. The project aims to remind the audience that there is inherent beauty in every aspect of life, including our flaws and imperfections. Unlike our tendency to conceal our weaknesses and vulnerabilities, this sculpture embraces and illuminates the broken parts to showcase their beautiful qualities. 

The sculpture’s design features an intentionally bent upper part, forming an upside-down heart shape. This serves as another reminder to continue spreading love and positivity, even in moments when optimism and love may feel distant. Love, as the most powerful force in the world, has the potential to both break and heal, and this artwork seeks to capture the essence of this duality. By combining aesthetics, symbolism, and the interplay of light and space, the sculpture aspires to inspire contemplation about the nature of love and its effects.

Perspective and Context

As discussed in Jack Burnham’s essay “Light as Sculpture Medium” from “Beyond Modern Sculpture” (1969), light in art is often transmitted and transformed through materials rather than projected directly at the viewer. In line with this concept, my project uses neon tube lights to create a luminous effect that “hugs” the audience in a pink glow, revealing the emotional stimulant of luminosity described by Burnham. The glowing pink neon tube serves an aesthetic purpose as well as bringing a sense of warmth, comfort, and emotional connection. It engages the viewer on a certain level, inviting contemplation about the transformative power of love.

Development & Technical Implementation

The development of my project involved a combination of research, experimentation, and technical implementation. To begin, I researched the Japanese art of Kintsugi, studying its techniques of repairing broken pottery with gold and the symbolism behind it. This inspired the concept of using EL wires to represent the golden repairs in my sculptural mannequin. Additionally, I spray-painted the sculpture with a gold finish to further emphasise the element of Kintsugi.

To ensure the proper functioning of the EL wires and neon tube, I constructed individual circuits for each component and tested them separately. Once each circuit was working correctly, I combined them into a single board and wrote the necessary code to control the motion and lighting effects. This step allowed me to achieve the blinking and fading motion. 

In terms of the physical construction, I began by sketching the design for the broken heart part of the sculpture. Using a Dremel tool, I carefully cut out the broken pieces, creating the desired shape. I then engraved lines along the fractures to guide the placement of the EL wires. The wires were glued in a pattern resembling veins, further highlighting the visual representation of the repaired fractures.

For the top part of the sculpture, I initially experimented with different angles and positions for the neon tube. I then discovered that the tube in a hanging position created a heart shape when illuminated. Given that the neon tube emitted a pink light, which symbolises love and the heart, this shape of the heartfelt particularly fitting to my concept.

Once all the individual components were completed, I felt that something was missing and to add a final touch, I created drips using hot glue guns. Each drip was carefully crafted and allowed to dry before being attached to the sculpture. Then by placing these drips, I achieved a sense of balance and visual interest, while also creating a connection between the drips and the neon tube.

To fully experience the project, the audience should stand in front of the sculpture and allow themselves to be wrapped by the soft pink glow emitted by the neon tube. They can appreciate the interplay between the illuminated broken parts, the symbolism of Kintsugi, and the transformative power of love. The combination of light, shape, and symbolism invites contemplation and reflection on the beauty found within brokenness and the potential for love to both break and heal.

Presentation

During the presentation, I tried not to over-explain, allowing the audience to form their own interpretations. Those familiar with the concept of kintsugi appreciated the symbolism, while others found their own unique meanings. While the overall reception was positive, the presentation could have benefited from a quieter space. One interesting aspect was the wide range of interpretations and emotional responses from the audience like the shape and colour of the neon tube, the motion of the EL wires blinking was likened to a beating heart, and the drips were interpreted as tears from the eyes.

Conclusion

The process of researching, creating, and executing this project was both challenging and rewarding. I learned that translating an idea from imagination to reality requires attention to detail and a willingness to iterate and make adjustments along the way. I needed to start early and dedicate a lot of time to the project, allowing me to refine the design and work on the fabrication and electrical aspects later.

One of the most important lessons I discovered was the need to balance self-satisfaction with external expectations. While it was essential for me to create a piece that fulfilled my artistic vision, I also recognised the importance of giving yourself a compliment for what you did. In terms of areas for improvement, I would explore ways to hide the wires more effectively, perhaps by making them longer and concealing them in unnoticeable areas of the sculpture. Additionally, I believe there is room for further experimentation and refinement in coding the motion and lighting effects of the project. Overall, this project was a valuable learning experience that challenged me both technically and artistically. It taught me the importance of patience, attention to detail, and self-appreciation. 

Our second assignment was inspired by Thomas Wilfred’s Lumia Suite, Opus (1963-1964), a beautiful artwork that uses a translucent glass screen to project light, creating a galaxy-like and dreamy reflection.

To recreate this effect, we used two halogen lamps as our light sources and crafted two reflective surfaces using lustrous tinted paper. We first constructed Arduino circuits and soldered the halogen lamps to longer wires then plugged them into the breadboard and used a 12V power supply to light up the lamps. With the circuits complete, we proceeded to the final step by arranging the lamps and reflective boards on the desk, we positioned them in such a way that their reflections would be projected onto the wall. Thus, we programmed the lamps to alternate their brightness, so that when one lamp reached its maximum luminosity, the other would fade into darkness.

While we encountered minor challenges during the process, like the reflection wasn’t as bright as we had initially hoped due to the lamps illuminating the wall, we still managed to get our original vision.