Exosphere

Exosphere (2018) continues my exploration of a synthetic world, created using high-end 3D animation software and motion capture. The term ‘exosphere’ references the uppermost layer of the atmosphere surrounding a planet, where it thins out and merges with interplanetary space. An in-between zone that suggests both limitations and possibilities.
This was partly inspired by French philosopher Paul Virilio’s suggestion that the modern city has become a ‘claustropolis’, where the inhabitants feel the need to put up what he describes as an ‘exospherical fence’ or barrier to fend off the unknown dangers of the outside world.

Nature Morte

This work draws on a number of sources including the art historical term Nature Morte, (referring to the genre of still life painting, literally ‘dead nature’), conceptions of the ‘hyperobject’, term coined by Timothy Morton to describe transcendent and massively distributed phenomena (a feature of global ecological crisis), and Benjamin H. Bratton’s notion of ‘The Stack’ – accidental networking megastructures created by planetary-scale computation.

Panopticon I

Panopticon I (2015) continues Bennett’s exploration of conceptions of the utopian and dystopian, with this work presenting an endlessly rotating point-of-view of a circular panoptic structure. This construction is populated by an ever-expanding taxonomy of animated figures, plants, objects, and architecture which interact, assemble and re-assemble, simultaneously fixed and unstable, trapped in ceaseless loops and cycles in a form of animated stasis.

Ectomorphia I

Ectomorphia I (2015) takes a rotating circular form as a staging ground for a series of psychological vignettes. Using 3D animation and motion capture (whereby live performers movements are recorded in 3D and applied directly to digital figures) this work takes as its starting point themes of transfiguration and metamorphosis, referencing and reconfiguring the Greek myth of the flaying of Marsyas, from Ovid’s Metamorphoses.

Floratopia I

Floratopia I continues artist Gregory Bennett’s exploration of intricately constructed virtual worlds populated by multitudes of de-individualized moving figures trapped in a form of uncanny life; bodies enacting a series of seemingly endless cryptic cyclic rituals, existing in a marginal state, neither dead nor undead. Time and space are also ambiguous factors here – the environment rotates past the viewer situated in a kind of metaphysical ‘no-space’ reminiscent of a video game environment.

Omnipolis

This often tenuous structure is populated by groups of assembled and reassembled Sysiphus-like replicated figures organised into units of performed actions, loops, and cycles, creating ongoing series of patterns of movement vocabulary. The never-ending loop situates the figures in a kind of eternal present, relentlessly mobile, rooted in modules of asynchronous time in which temporal progress is both enacted and arrested.

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