![]() ![]() Some consider the advent of 3D printing, for instance, to be as momentous of an invention as what photography proved to be in the 19th century. As this new technology appeared and threatened painting’s centuries-old dominance of the realm of representation and image production, it also unleashed a liberating force that allowed art’s regal medium to start concentrating on its constitutive elements, and to address them, for better or for worse, as subject matter. Today, the artist can make the fundamental decision to print a photographic image or file in either 2D or 3D.Ĭonsider: silicone, digital photography and printing, computer graphics, UV cured inks, aluminum alloys, new plastics, resins and rubbers, formal optimization software, CNC milling machines, laser technology, advanced construction materials, along with more traditional media and techniques such as drawing, painting, weaving, wood and stone carving, glass blowing, bronze casting – all are within reach of the artist working today.Įach work in the exhibition contains the ability to clearly reveal its articulation and constitute an adequate plastic solution to a more or less identifiable problem – the conceptual dimension – or comes across as generating and responding to its own inherent riddle. As we know, since Marcel Duchamp installed a urinal on a gallery wall over 100 years ago and called it art, a contemporary art object must be, at best, the material embodiment of an idea, whatever the idea might be. An idea, for instance, might emerge from considering and questioning the status of a given material or technique. In the search for the mark of the Poet-Engineer, an artwork’s display of spectacular fabrication and high production values can be misleading. It cannot simply embrace and fuse with the alluring capabilities of advanced engineering tools. The Poet-Engineer is a skilled craftsperson, but does not specialize in a particular technique. The Poet-Engineer does not fetishize new tools. They tend to be a master of the oblique and of expression in the minor mode (Deleuze). The Poet-Engineer is not interested in exploring for the sake of exploring. ![]() ![]() The Poet-Engineer, like Picasso once proposed, strives to discover and find solutions. “Among the several sins that I have been accused of committing, none is more false than the one that I have, as the principal objective in my work, the spirit of research. When I paint my object is to show what I have found and not what I am looking for. ![]()
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