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This work was made for a group-exhibition in the Netherlands. We encountered the gallery as a playgound, where the theme of the show was the act of playing and tinkering as a way of working. In a post-modern era, where 'everything has been done already' the key element of getting into a new appreciation of the things around us, is to reorder and re-evaluate the existing things or signifiers. Whereas the act of tinkering is, according to Claude Levy Strauss, exactly that. As a playing/tinkering subject we re-order the objects around us in a non-hierarchical manner to build a new 'surprising' hybrid of forms, open for anticipation.

Throughout my work I'm fascinated with scientific truth, yet within the arts I find a niche where the so called magical thinking can co-exist with abstract thoughts and scientific facts. I find it striking that the same structuralist thinking patterns emerge when scientists/futurists try to construct a certain world-view as our ancient ancestors did in the past. New scientific approaches have led to a new anthropocentric form of religion, namely transhumanism. A belief that the next step for man is to melt together with technology. To become a hybrid. Hence the ancient sphinx, a hybrid avant la lettre, where a human form is melted together with the strength of an animal body. 

There is an engine build in the body of the sphinx that powers an axis which rotates a colour wheel in front of the face of the sculpture. The colours are 'all' the colours of the visible colour spectrum. Namely red, orange, yellow, green, blue and purple. This emphasizes the famous colour experiment done by Sir Isaac Newton, which has led to a wide verity of empirical truths within the world of physics.  

It rotates at a speed that the colours mix into a somewhat hallucinating orb of light, as if the sphinx is blinded of fixated gazing within this phenomenon, just as modern people gaze into their screens, disappearing into the infinite digital space called the internet.
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Gazing Figure

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Gazing Figure Sculpture

Ian Paul de Ruiter

Netherlands

Sculpture, Manipulated on Other

Size: 48 W x 87 H x 95 D in

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About The Artwork

This work was made for a group-exhibition in the Netherlands. We encountered the gallery as a playgound, where the theme of the show was the act of playing and tinkering as a way of working. In a post-modern era, where 'everything has been done already' the key element of getting into a new appreciation of the things around us, is to reorder and re-evaluate the existing things or signifiers. Whereas the act of tinkering is, according to Claude Levy Strauss, exactly that. As a playing/tinkering subject we re-order the objects around us in a non-hierarchical manner to build a new 'surprising' hybrid of forms, open for anticipation. Throughout my work I'm fascinated with scientific truth, yet within the arts I find a niche where the so called magical thinking can co-exist with abstract thoughts and scientific facts. I find it striking that the same structuralist thinking patterns emerge when scientists/futurists try to construct a certain world-view as our ancient ancestors did in the past. New scientific approaches have led to a new anthropocentric form of religion, namely transhumanism. A belief that the next step for man is to melt together with technology. To become a hybrid. Hence the ancient sphinx, a hybrid avant la lettre, where a human form is melted together with the strength of an animal body. There is an engine build in the body of the sphinx that powers an axis which rotates a colour wheel in front of the face of the sculpture. The colours are 'all' the colours of the visible colour spectrum. Namely red, orange, yellow, green, blue and purple. This emphasizes the famous colour experiment done by Sir Isaac Newton, which has led to a wide verity of empirical truths within the world of physics. It rotates at a speed that the colours mix into a somewhat hallucinating orb of light, as if the sphinx is blinded of fixated gazing within this phenomenon, just as modern people gaze into their screens, disappearing into the infinite digital space called the internet.

Details & Dimensions

Multi-paneled Sculpture:Manipulated on Other

Original:One-of-a-kind Artwork

Size:48 W x 87 H x 95 D in

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