Curator
Solo Exhibition
Curator
Solo Exhibition
DP-1 playlist, version 1.1.0. 12 items: Auriea Harvey.
Scan the code with a Feral File Toko, an FF1, the app or ff-cli to display this playlist, or copy the link and open it there.
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"text": "Auriea Harvey is a Rome-based artist whose practice encompasses virtual and tangible sculptures, drawings, and simulations while blending digital and handmade production. She is primarily concerned with making the mythological world visible through form, interaction, and immersion. Her works are a synthesis of art historical reference and imagination, and she is engaged across time, media, and material to define what sculptural production means in the present moment.\nHarvey is half of the award-winning artist duo known as Entropy8Zuper!/Tale of Tales/Song of Songs, known for their pioneering works in internet art, video games, and mixed reality. Her work can be found in the permanent collections of institutions such as the Whitney Museum of American Art, Buffalo AKG Art Museum, Walker Art Center, KADIST Collection, RF.C Collection, and Rhizome’s Net Art Anthology. Her video games and VR works have been featured internationally within exhibitions at the Tinguely Museum, Basel; the Victoria & Albert Museum, London; the New Museum, New York; Brooklyn Academy of Music, New York; and ZKM, Karlsruhe."
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"description": "The poster depicts the digital sculpture Gray Matter, while flaming and smoking on a gray background marked with the exhibition title and the artist’s signature.\nArtist Note:\nThis image is my signature on the exhibition. It welcomes you behind the scenes and into the digital studio. You see the eponymous sculpture \"Gray Matter\" as it is set up for rendering. I hate to render though, I much prefer real-time art, so I poke fun at the act by leaving the tools and guides of lights visible. And instead of creating artifice with the smoke coming from the central polygonal flame, I leave it exposed for the illusion it is. Such is life, in 3D."
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"description": "In “Dagger,” an obelisk/dagger interrupts the dawning horizon with its vertical lithic shape, embodying an ironic and provocative statement. It appears on a stage set and again and again it plants itself tip down into the ground, a fiction of futile violence. The integration of mythological elements recalls the classical monumental tradition. This particular Minotauress being is a repeated theme in the artist’s work. Facing-off, their horns promise a danger that the clay-made blade cannot fulfill.\nInteraction:\nLeft mouse button/touch drag to rotate the scene\nScroll wheel/pinch to zoom\nWait or click object to topple\nWait 60 seconds for reset\nThis artwork comes with an application for offline viewing and a 3D printable digital file."
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"description": "Recalling the display of ancient Greco-Roman sculptures, the pedestal in “Haristory” holds a head fragment and echoes the style of non-finito aesthetics or melting digital morphs. Of course, in this case the work was done, broken, and re-done, scanned, placed, and finished. The strange and ambiguous protrusion of the hair troubles the usual relation with the archeological artifact, evoking a dystopian atmosphere. And what is this sculpture made of?\nInteraction:\nLeft mouse button/touch drag to rotate the scene\nScroll wheel/pinch to zoom\nMiddle mouse button/Arrow keys/two finger drag to pan the view\nThis artwork comes with an application for offline viewing and a 3D printable digital file."
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"description": "“Mumble” depicts a magical-mesmerizing sculpture intent on murmuring something incomprehensible, maybe a spell or a prayer. The movement of the lips is continuous, while the light effect changes as the sculpture is flipped. And again a fossil appears, in this case as an eye. There is a question you might have while staring at the back of its clay head reflected on the plinth: what makes something alive in digital space?\nInteraction:\nLeft mouse button/touch drag to rotate the scene\nScroll wheel/pinch to zoom\nThis artwork comes with an application for offline viewing and a 3D printable digital file."
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"description": "“The Hand-Heart Problem” is a spinning sculpture, subjected to acceleration by the interaction of the viewer. The title recalls the anatomical components assembled in the sculpture. The basis is a rock, roughly shaped like a heart and a hand made out of clay. The face comes from the artist’s library of forms. It’s about the absurdity of spinning out of control at the slightest touch.\nInteraction:\nGrab object with mouse or touch/tap to spin object\nLeft mouse button/touch drag to rotate the scene\nWait for it to calm down\nScroll wheel/pinch to zoom\nThis artwork comes with an application for offline viewing and a 3D printable digital file."
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{
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"slug": "curse-tablet-let",
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"description": "The bouncing sculpture “Curse Tablet” traces a frantic movement around the undefined space. One can recognize in the shape of the sculpture the presence of a female torso, combined with a capital. The juxtaposition of the two unlikely forms enhances the perception of estrangement amplified by the bouncing. Traditionally a curse would be inscribed onto a sheet of lead, folded, and placed in a hidden location where it can plague the accursed victim. The endless and random motion seems always on the verge of stopping yet never does.\nInteraction:\nLeft mouse button/touch drag to rotate the scene\nScroll wheel/pinch to zoom\nWatch it bounce\nThis artwork comes with an application for offline viewing and a 3D printable digital file."
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"description": "In “ba-eye,” a poor statue cries endlessly. The ground on which it sits is neither solid nor liquid.\nInteraction:\nLeft mouse button/touch drag to rotate the scene\nScroll wheel/pinch to zoom\nMiddle mouse button/Arrow keys/two finger drag to Pan the view\nWatch it cry\nThis artwork comes with an application for offline viewing and a 3D printable digital file."
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"summary": "Auriea Harvey’s solo show Gray Matter presents a body of work emerging from an undefined and fluid ambient, where mud-like protoplasm is molded from a neutral background, solidifying into metaphysical apparitions. These data-based objects are marked by the memory of their material roots, similarly to archeological artifacts or witnesses. Indeed, the artist plays with the tools of archaeological research in the creation of her mythology and methodology. Auriea uses polygons in place of plaster, staging a non-literal and paradoxical practice of casting in a ping-ponging circularity from the sensual world to the digital one and back again. As in Pompeii’s casts, where the transition from the void left by an incinerated body is impressed into the durable matter of a plaster form, the artist seeks that continuum in the tension between ethereal and corporal, attempting to answer the question: what is this void made of?",
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