Dymaxion Kinsfolk
2009
Aluminum, lead, steel, mirror, wood, medical replacement joints, plastic, lights, Formica
213.4 x 182.9 x 66 cm (84 x 72 x 26 in.)
In a glass cage, two mutant figures made from the artist Matthew Day-Jackson’s skeleton seem to untidily shift from a natural to a rational state. The play of reflections caused by the display windows tends to endlessly multiply in a long line, like the proof of a fictitious evolution of humanity.
Derived from the contraction of the words "dynamic maximum tension", the title of the Dymaxion Kinsfolk installation explicitly refers to a term coined in the 1920s to describe the inventions of scientist and designer Buckminster Fuller. The artist is passionate about his geometrical theories at the origin of pure volumes, such as geodesic forms, found in nature. Here they are put to use in a modern memento mori.
Dymaxion Kinsfolk was shown for the first time by the Pinault Collection during the exhibition "Mapping the Studio" (2009-2011) at the Punta della Dogana and Palazzo Grassi in Venice.
Derived from the contraction of the words "dynamic maximum tension", the title of the Dymaxion Kinsfolk installation explicitly refers to a term coined in the 1920s to describe the inventions of scientist and designer Buckminster Fuller. The artist is passionate about his geometrical theories at the origin of pure volumes, such as geodesic forms, found in nature. Here they are put to use in a modern memento mori.
Dymaxion Kinsfolk was shown for the first time by the Pinault Collection during the exhibition "Mapping the Studio" (2009-2011) at the Punta della Dogana and Palazzo Grassi in Venice.
Exhibitions
Courtesy Peter Blum Gallery, New York
