Tower, Teapot, Stalks, Ripped, Llama, Grid, Geometric, Bust, Bowl and Bunny, Augmented Reality, printable marker and digital sculpture extracted from The Sims 4, dimensions variable, 2019.
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Tower
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Teapot
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Stalks
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Ripped
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Llama
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Grid
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Geometric
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Bust
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Bowl
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Bunny
Emotional Sculptures is a series of 64 digital forms sourced from the video game The Sims 4, a simulation game that functions as a microcosm of a capitalist society. The sculptures were made by the artist’s in-game avatar, Adonis (Sim), where depending on his virtual emotional state he would produce one of ten variations out of a “Lump of Clay”.
As part of the residency for which they were produced, an exercise was performed where Adonis (Sim) kept making sculptures until he made all of them — an allusion to the growing need for new works transforming an artist from an emotional being to a machine of artistic overproduction.
The conclusion of this exercise, and in order to exhibit them in the physical world without altering their (non-)materiality, was to present them in Augmented Reality, further highlighting the idea that our world could be a host of multiple layers, and thus, a simulation itself.
Tower
Teapot
Stalks
Ripped
Llama
Grid
Geometric
Bust
Bowl
Bunny
Emotional Sculptures is a series of 64 digital forms sourced from the video game The Sims 4, a simulation game that functions as a microcosm of a capitalist society. The sculptures were made by the artist’s in-game avatar, Adonis (Sim), where depending on his virtual emotional state he would produce one of ten variations out of a “Lump of Clay”.
As part of the residency for which they were produced, an exercise was performed where Adonis (Sim) kept making sculptures until he made all of them — an allusion to the growing need for new works transforming an artist from an emotional being to a machine of artistic overproduction.
The conclusion of this exercise, and in order to exhibit them in the physical world without altering their (non-)materiality, was to present them in Augmented Reality, further highlighting the idea that our world could be a host of multiple layers, and thus, a simulation itself.
As part of the residency for which they were produced, an exercise was performed where Adonis (Sim) kept making sculptures until he made all of them — an allusion to the growing need for new works transforming an artist from an emotional being to a machine of artistic overproduction.
The conclusion of this exercise, and in order to exhibit them in the physical world without altering their (non-)materiality, was to present them in Augmented Reality, further highlighting the idea that our world could be a host of multiple layers, and thus, a simulation itself.