We are witnessing a transgression of digital culture into the material realm. As digital processes permeate the most intimate areas of our lives, material properties come to new prominence. From the scientific production of graphene-based structures to the rapid proliferation of makerspaces, the material world claims a new domain: 3D printers, CNC routers, laser cutters and related tools have become widely available to the public and allow an exact and repetitive translation of digital models into physical objects.
What is the significance of sculptural objects that are created through such generative processes, particularly if they can be executed at an accelerating pace? Do the technical means affect the perception of present art historical interpretations? Are the known and established contexts set out to drift? Orbiting examines the relations between materiality, perception and the production of cultural significance. It looks at the aesthetic impact within automated production processes of three-dimensional structures.
The work speculates on the transformation of meaning through reproduction. It claims a process that transcends the erosion of information into a choreography of a higher order: a dynamic juxtaposition of model-like sculpture objects that float in microgravity and perform a grammar of spatial relations towards each other.