Prototype

Michael Una, Robert Andrew Mueller, and Mark Porter
Opening Reception: Friday, December from 12th 7-10pm

Show runs until Sunday, January 25th
LED throwie DIY workshop on Sunday, January 18th from 4-7pm

Kinetic Art defined by Frank J. Malina:prototypeimage
1. Pictorial and sculptural objects incorporating motion and changes of colors with time, brought about by:
(a) optical, mechanical, magnetic, electro-mechanical and electronic systems,
(b) chemical reactions with the flow of liquids
2. Objects in which changes with time are random, programmed or responsive to the intensity or the frequency of a sound input and even to the characteristics of alpha brain waves
3. Visual experiences provided by slide projection, cinema and television techniques

Even though the phrase Kinetic Art was coined 60 years ago, it is still a new and recent art form. So recent, that the production is taken for granted. Our society is jaded with the familiarity of manufactured machines and computers, housed in pristine boxes where it is difficult to be aware of the tedious, and time-consuming process preceding a finished piece of work. In mini dutch’s new show, Prototype, these first stages of production are explored through three distinct approaches to kinetic work.

Michael Una wanted to see if it was possible to scale down a previous prototype into a smaller version. Multiple hand-held recording devices play sound through a program still attached to the breadboard. Eventually, this prototype will be programmed into a chip, housed in box, and finally completed.

Robert Andrew Mueller incorporates pneumatic muscles as movement for his work— simple back and forth motions. Having never used any organic motion, Mueller has fabricated a prehensile trunk. Not an art piece on its own, the movement of this appendage will eventually find itself in one of his other pieces.

Mark Porter makes wonderfully futile machines, spewing fluids and projections onto walls and floors. Two-dimensional drawings are the precursor to Porter’s work. Simple in design they act as blueprints—but also forcing Porter to think about composition and cosmetics during production.

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