Digital Stone Project 2017

2017 Edition Digital Stone Project

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2016 Edition Digital Stone Project

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Digital Stone Project V

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Digital Stone Project 2017

Artist

Mary Neubauer

Working at the art/science intersection, Mary Neubauer has shown her sculpture and digital images internationally. Recent exhibitions include When Push Comes to Shove, Scottsdale (AZ) Museum of Art, Museums and the Web, Los Angeles, CA; and Cité des Sciences et de l’Industrie, Paris. She was a visiting artist at the American Academy in Rome, a Fulbright Fellow (Cambridge, UK), and a Ford Fellow. Recent projects include Garfagnana Innovazione and the Arctic Circle expeditionary residency. She is a Presidents’ Professor and Head of Sculpture at Arizona State University’s Herberger Institute for Design and the Arts.

Description of Work
Her recent work in three dimensional visualization of long term data sets has focused on factors driving global climate change, particularly in the Arctic. The sculpture Polar Vortex expresses one such data set. She continues to create interactive public artwork expressing statistical input from remote sites around the globe.

Carolyn Frischling

Carolyn studied art at Grinnell College in Iowa, emphasizing painting, drawing and printmaking. At Washington University in St. Louis, she intensified her focus on printmaking. Over time, Carolyn expanded her art practice by including complex 2D digital works and videos. This ultimately led her to create 3D digital images and turning them into physical sculptures. Carolyn’s prints and sculptures have been shown extensively in galleries in Pittsburgh, New York and Minneapolis. One of her sculptures was part of a special exhibition at the Carnegie Museum of Art in Pittsburgh in 2016. Carolyn currently lives in Pittsburgh, where she has a studio.

Description of Work
Her sculpture, titled “Avvolgente” or “Enfolding”, alludes to maternal love as well as sensual love and to a fairytale from her childhood called The Tinderbox by Hans Christian Andersen. She wanted to give the stone a sense of voluptuousness and movement.

Chelsea Tinklenberg

Chelsea Tinklenberg is from Flagstaff in the mountains of Northern Arizona. With a love for building things, she received her Bachelor of Fine Art at Northern Arizona University in Studio Art with an emphasis in Sculpture. In her undergraduate studies, she worked primarily in fabricated steel, clay and bronze. Currently a graduate student at the University of North Carolina Greensboro, Chelsea has expanded her use of materials and processes to include stone carving and woodworking. She is currently experimenting with both kinetic and static sculptural forms to capture playful, comedic, movement that eludes to our ever-changing struggle to achieve balance.

Description of Work
Her carved marble piece for the Digital Stone Project, entitled “Loud”, is an abstract representation of a voice struggling to be heard. Very gestural in form- the limb like structure of the piece evokes a precarious movement. The “head” of the sculpture projects outward as if emitting a sound.

Claire Stromberg

She makes art to express the softness and silliness that she feels inside. She wants to remind everyone that we never lose our inner child, but we often lose sight of them. She aims to counterbalance the bad she sees happening in the world around her with something that makes her feel the opposite. In art as in life, she aims to make people laugh, see the beauty in the small things, and feel more comfortable and less alone in the world. She often visually references the body, body systems, and microbiology, and attempt to create work that is visually tactile and that looks like it wants to be touched.

Description of Work
The piece she is creating for the Digital Stone Project represents her first endeavor into digital sculpture. She thinks of the piece as a human digestive system reimagined and simplified to its essence as movement and texture. The soft forms of the marble piece are influenced by her work with soft sculpture and her interest in children’s toys.

Pat Wasserboehr

Pat Wasserboehr earned her BFA and MFA degrees in sculpture from the School of Visual Arts at Boston University. She currently teaches sculpture and drawing in the Department of Art at the University of North Carolina at Greensboro and served as Head of Department from 1998 to 2010. Pat’s sculpture has been represented in art museums, centers, and galleries throughout the United States and internationally in France, Italy, Germany, and Spain. She was an artist-in-residence with the University of Massachusetts Summer Abroad Program in LaNapoule, France and in Cortona, Italy with the University of Georgia’s summer program. During the summers of 2014 and 2017, she participated in the Digital Stone Project/ Garfagnana Innovazione in Gramolazzo, Italy. In August of 2017, she is a participant in Salem2Salem, an international art residency at Salem Art Works, Salem, New York. Pat is the recipient of a North Carolina Regional Artist Project Grant, and several research, and travel grants from UNCG.

Description of Work
The sculpture she has designed for the Digital Stone Carving workshop is conceived to memorialize the Fukushima triple disaster-an earthquake, tsunami, and critical nuclear reactor accident in March 2011. The sculpture is composed using architectonic elements such as hyperbolic curves, arches, and geometric planes. Arched structures constitute the parallel front and rear planes, and a hyperbolic, or saddle-like roof is suspended between them. At the center line of each arch is a triangular-shaped opening that serves as a passageway to bring the viewer into the interior space. She envisions the sculpture as sanctuary-like, a dwelling of refuge where meditation and reflection are encouraged. She intends to enter her sculpture in future memorial competitions with the goal of generating a monumental sculpture for a public site in Japan.

Gary Kulak

As the son of a steelworker and grandson of a coal miner, Gary Kulak grew up in Noblestown, Pennsylvania, a small town outside Pittsburgh. He remembers visiting Bethlehem Steel Co. with his father and the discussions of the mill at dinner. In Pittsburgh, everyone spoke of the mills and legend has it that the iron in the water made them strong. Gary’s father made sure he pursued an education and did not have life in the mills. As an artist, Mr. Kulak continues a tradition of drawing from the memories of his youth and embedding them in steel. Gary began his career as a professional sculptor in 1974 graduating with a BFA from Cranbrook in 1975. He completed his MFA from Hunter College in 1983. Gary worked with John Henry in Chicago prior to Cranbrook. At Cranbrook, he studied with Michael Hall. Upon graduation, as an independent artist, Gary assisted Sol Lewitt, John Mason and Lyman Kipp with installations of their work. At Hunter College in New York, Gary studied with John Mason, Robert Morris and assisted Alice Aycock. Gary’s work is a part of many public and private collections throughout the US. He is currently Head, Fine Arts Department at Cranbrook Schools in Bloomfield Hills, Michigan.

Description of Work
“Evolutionary Culture” continues his 40-year investigation into the chair as both metaphor and archetype. This work began by 3D scanning a bronze form created 30 years ago. He transformed the work with Autodesk software, creating a conceptual bridge of thought and time. The process incorporates both traditional and contemporary methods for creating a new evolutionary form.

Jonathan Monaghan

Jonathan Monaghan (b.1986, New York) works across a range of media, including prints, sculpture and animated video, to produce otherworldly objects and narratives. Drawing on wide-ranging sources, such as historical artworks, science fiction, and advertising, his works seem to elicit subconscious fears associated with technology, consumerism and authority. Past exhibitions and screenings of his work include The Sundance Film Festival, The Crystal Bridges Museum of American Art, and The Eyebeam Art + Technology Center. His work has been featured in The Washington Post, VICE, The Wall Street Journal and The Village Voice. Monaghan is represented by bitforms gallery in New York and Galerie 22,48m2 in Paris.

Description of Work
“Alien Baroque” is a series of unsettling and otherworldly sculptures in white Carrara marble. The surface of the sculptures reference a furniture-like skin, and are ornamented with 3D printed gold baroque details. The works appear like luxury decorative objects from an alien dimension.

Jon Isherwood

Isherwood’s work has been widely exhibited in public museums and private galleries internationally. His sculpture has recently been exhibited at Villa Strozzi, Florence, Italy, The national Museum, Beijing, China; The DeCordova Sculpture Park and Museum USA and in Belgrave Square, London, UK. He has had more than 20 solo exhibitions, including Reeves Contemporary in NYC, John Davis Gallery in NYC; The C. Grimaldis Gallery, Baltimore; He has been featured in many group exhibitions, including the Peggy Guggenheim Museum in Venice, Italy; The McNay Museum, San Antonio, TX; The Derby City Museum, Derby, UK; and Kunsthalle, Manheim, Germany. His work can be found in more than 25 public collections. Reviewed include The New York Times, Art in America, ArtNews, The Washington Post, Sculpture Magazine, Partisan Reviews, and in The Guardian, UK. He teaches at Bennington College VT and is the President of the Digital Stone Project.

Jon Isherwood Statement
Isherwood’s most recent sculptures represent the further development of his ongoing dialogue with the associative sensations of form and surface. Forms are compressed, distorted, or squeezed, and made more intimate by subtle adjustments of scale. He does not imitate the body; however, the sensual aspect of the manipulated shape proposes physicality to the viewer even in the absence of figuration. Carved lines contour the surfaces to emphasize the form, create the illusion of expansiveness and provoke associations to patterning, layering and veiled imagery. We are invited to investigate the visual grasp of intuitive perception.

The tension between shape, pattern and skin that characterizes Isherwood’s work is further reflected in the tensions surrounding his technique and material. His sculptures are the result of a unique process in which the ancient and the modern confront one another: Stone, the oldest and most sensual sculptural material, is carved with the help of high-tech methods. This allows Isherwood to attain an uncompromised precision in his treatment of the incised surfaces, which play with and against the swelling, fleshy, soft and yet substantial character of his organic forms.

Lauren Ewing

Lauren Ewing is a sculptor and imagist. Her work explores the collapse of nature into culture and the relationship between desire, memory and material culture. She was a founding member of the Digital Stone Project and has a studio in New York City. Her work is in the collections of many private and public collections including the MoMA, The Metropolitan Museum, The San Diego Contemporary, Chase Manhattan Bank and Walt Disney.

Description of Work
She is making and edition of 5 sculptures (18”x18”x3”H) in honed Bardiglio marble. They are a moment in time, a snap shot of the surface of the ever changing ocean with the inscribed text “remembering-oceanmind-remembering-wildheart”.

Michael Rees

Michael Rees is an artist working in themes of figuration, language, technology, and the social to weave a sculptural mélange. He has shown his work widely including the Whitney Museum in the 1995 Biennial and again in “Bitstreams” in 2001, the MARTa Museum in Germany, Art Omi, The Pera Museum in Istanbul, The Kemper Museum of Contemporary Art, and in private galleries such as 303 , Bitforms, Basilico Fine Art, Pablo’s Birthday, Favorite Goods and elsewhere. His most recent show Clowntown debuted at the Bravin Lee Gallery in New York in October of 2017. He will open an ambitious project at Grounds for Sculpture in February 2018. His works are in the collections of the Whitney Museum of American Art, the Kemper Museum of Contemporary Art, Kansas City, and numerous private collections. Rees has received grants from Creative Capital, the New Jersey State Council on the Arts, the Rockefeller Foundation, and the National Endowment for the Arts. He received his BFA from the Kansas City Art Institute and his MFA from Yale University. He also won a Deutscher Akademischer Austaushdienst for undergraduate study at the Kunstakademie in Dusseldorf, Germany.  Rees is currently professor of Sculpture and Digital Media at William Paterson University, and Director of the Center for New Art there.

Description of Work
“Slappy Pappy” is a marble sculpture that uses augmented reality to create a rich sculptural melange that blends sculpture, imagery, and virtual sculpture together. It was included in the Rees’ exhibition Clown Town 2016 in which each sculpture presented a picaresque narrative of the life of an abject clown. The inescapable clownish aura of Rees’s works is felt as variously exuberant, silly, incompetent, abject or grotesque. Clown Town looks into a sculptural condition stuck within a transformative trajectory that takes us from the existential to the artificial. Rees draws viewers through an ideational house of mirrors, deftly shuffling technologies, medias, images and characters while playing in this serious game with one’s sense of the real.

Nicholas Decker

Nicholas is a graduate student at the Pennsylvania State University. He is pursuing a Masters of Science degree in landscape architecture, and is studying public art from a landscape perspective. He received his Bachelor’s degree in landscape architecture from Utah State University, where he also studied sculpture and stone carving under Ryoichi Suzuki and gained a minor in sculpture. In his sculpture, Nicholas prefers hand stone carving, and his forms reflect his beliefs on the relationship between humanity and nature.

Description of Work
Nicholas is completing a sculptural component to his Master’s thesis. The piece has a human-like form, but the form is derived from results of a geospatial analysis of public art in Pittsburgh, Pennsylvania. Nicholas ran density analyses across the city, then projected and manipulated it into the form you see.

Robert Michael Smith

Robert Michael Smith is an active pioneer of digital sculpture, 3D CG visualization/animation, virtual reality, robotic CNC and 3D printed sculptures. Smith is tenured Associate Professor at New York Institute of Technology Fine Arts Department and Distinguished Professor at Tianjin Academy of Art. Smith serves as a Founding Board Director for Digital Stone Project and a Board organizer for DSP Summer Workshops for Robotic Stone Carving at Tuscany. Smith has exhibited globally over thirty years. Smith has lectured at numerous universities, international conferences, and featured in several international articles and books. www.rms-sculpture.com

Description of Work
“Obelisk OblaDa”, visual word play based upon the Beatles song, “Obladi-Oblada”, with references to DaDa and the Egyptian monumental spire that functions as geometric vertical crutch for the psychedelic Freudian/Jungian synthetic bio-form that seductively climbs towards Orgasmic Enlightenment. Bio-form was haptically modeled within Virtual Reality like “Johnny Mnemonic” and “Minority Report”.

Shayani Fernando

Shayani Fernando, a licensed Architect and PhD researcher based in Sydney pursuing the challenges of the profession shaping extraordinary spaces. Exploring the past to build for the future with emerging technologies to reform the value of craft. She presented guest lectures at the Politecnico Bari, ETH Zurich, UNSW and co-authored research papers ‘Waterjet and Wire-cutting workflows in Stereotomic Practice’ Caadria2017 China; ’Model as Machine’ EAA/ARCC2016 Lisbon; ‘Stereotomy of Wave Jointed Blocks’ Rob|Arch2016 Sydney; ‘Surveying Stereotomy’ ARCC2015 Chicago and ‘Digital Stereotomy’ CAADFutures2015 Brazil. She is recipient of the Young Caadria award 2017 and ACIS Cassamarca research scholarship for Italian studies.

Descriptionof Work
‘Archi-Twist’ is an exploration of self supporting structures in stone. The twisted catenary arch model is comprised of interlocking wave joint typologies based on catenary curvature.

James Carl

James Carl was born in Montreal in 1960. He holds degrees from the University of Victoria, Rutgers University, McGill University and the Central Academy of Fine Arts, Beijing. Carl’s work has been exhibited and collected in Canada the US, China, France, Germany and Italy. He currently resides in Toronto and is a professor at the University of Guelph.

Descriptionof Work
Carl’s sculpture for this exhibition is a working model for a large scale architectural screen. The work makes use of common, slightly eccentric, repetitive forms, digitally generated and hand finished in black “Marquinia” marble. The sculpture marries the form of the ordinary inner tube to a perceptual experience of concealment and exposure common in Chinese garden architecture.

All protagonists of the Digital Stone Project V

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