The installation, which conflates historical contexts, looks at hybridity and omnipresence to perform “an active investigation into the increasingly autonomous nature of technology starting with prehistoric objects arriving at contemporary smart devices.”
A large-scale print using computer-generated imagery on top of satin fills the space, as well as a series of cockpit sculpture and laterns from the 20th century, which act as skeletons or one step removed from their original function as part of his research into the idea of ‘the first man made mark.’
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