Object of desire began as a thought process on early penitentiary life. The branch became a surrogate for the natural world, all that was denied to the inmate.
The act of looking and how we navigate through a work can inform the viewer to its meaning or in fact be a part of its content. In 3 views of Mount Everest we are afforded 3 different points of view of the same mountain. How do we become intimate with someone or something? I believe it is by having as many diverse experiences of that thing as possible. From a distance we can experience the iterated landscape, but as we move closer to consider them in more detail we are denied our view of the mountain and instead are confronted with our own reflection. But, perhaps in this moment, we realize that the eyepiece will give us another access back to the mountain. As we then gaze into the eyepiece there is a shift in our perspective. In fact there is a lens of low magnification that allows the viewer to see the tool pathing, residue of 3D machining. This shift of perspective, hopefully gives rise for the viewer to question their relationship to these objects and to the very act of looking. Seeing the tool path gives the work another subtext to be considered, the natural world versus the manufactured.
A slice of Mount Everest that has been defined and render through the use of 3D technologies has been mated to a hand blown form. It hangs inverted above a reflective pool. In the lower two images you can see the tool-pathing that defines Mount Everest's form. The use of the tool-pathing as a design element is to begin a dialogue between the natural world and that of the designed and manufactured.
Much of my work is about moments and how these moments build to having an experience that is both new and yet connected to ones that are primal or archetypal. Mount Everest in Black in resonates as a dream space, a place that in an instance turns from the concrete to the ephemeral. As you approach the sculpture, light and dark attempt to contain the other. You then see a hint of something over the horizon. Peering over the edge of the black into its liquid space the reflection of the mountain from above rises like a new moon radiating in the night sky. The reflection is simultaneously untouchable, it resides within an unknown space, yet it seems more real than its physical counterpart above.
Public Collection
Pennsylvania Convention Center, Philadelphia
Artist statement at the Pennsylvania Convention Center for this work and object of desire; two.
Daniel Cutrone is a maker who is interested in how the worlds of art, craft, and design overlap. His current work combines contemporary 3D technologies with traditional glass and art making methods. He explores meaning by provoking a state of inquiry. It’s all about the “what ifs?” The work here investigates the relation between the natural world and the digitally designed one and between the hand made and the manufactured. There is a deliberate effort to avoid any notion of certainty and to engender a state of wonder and discovery in the viewer.
The act of looking. My hope is to push and pull the viewer into an active role. To be a full participant. The bird is a digit print in a translucent PLA hovering above a reflective pool. The posture of the bird is about a singular moment, vulnerable, but needing to gaze.
Public Collection
Pennsylvania Convention Center, Philadelphia
Artist statement at the Pennsylvania Convention Center for this work and object if desire; slice of mt. everest.
Daniel Cutrone is a maker who is interested in how the worlds of art, craft, and design overlap. His current work combines contemporary 3D technologies with traditional glass and art making methods. He explores meaning by provoking a state of inquiry. It’s all about the “what ifs?” The work here investigates the relation between the natural world and the digitally designed one and between the hand made and the manufactured. There is a deliberate effort to avoid any notion of certainty and to engender a state of wonder and discovery in the viewer.