Salman Khoshroo builds figures out of electric wire, with the resulting character being made for both close inspection and movement. His reflections show the ties between the human machine and the manmade machine. And his kinetic sculptures, in particular, tell of the inherent ability for motion in both of these.
On the above the sculpture, which movement settings of oscillating, pendulum and random, the artist says this: “Movement is an indication of the presence of a living entity. Robots and organic beings share a kind of will to move, whether through autonomy or automation. Machines can be aesthetic objects in themselves, precisely crafted and logically spectacular. In this kinetic sculpture the movements are programmed with an Arduino controller and commands are sent electronically to the DC motors. By tuning and finding the right settings, equilibriums of movement can be achieved, bringing the piece into balance.”
The artist’s paintings share aesthetic and conceptual tethers to his sculptures, See a few of these below.
In Jillian Denby’s voyeuristic, yet expansive paintings, people engage in both everyday activity as well as the unexpected. When viewed as a whole, her scenes offer a connectedness between its parties that each likely couldn’t see themselves. With works like "Genius of the River Chases Away The Frenzy of Art," the reality of what’s human and what’s art itself is blurred. “Nature can be overwhelming and landscape a little removed. With that in mind and viewing it directly, I try to acknowledge its presence, while conceptualizing a fragile observational dialogue,” the artist has said.
English photographer Eadweard Muybridge became a pioneer of capturing movement when he took position on a popularly-debated question of the day: his photographic sequences proved that all four feet of a horse were inexplicably off the ground at the same time while trotting. Late Dutch artist