suckerPUNCH: describe your project.
adam VUKMANOV + julia KOERNER: Morphology of Biodivers[c]ity is a research project that studies form and structure in natural and biological environment of California. It was generated through 6 months residency program and scholarship at MAK Center, Los Angeles. The exhibition, held in the new gallery at Mackey apartments (design and built by Rudolph Schindler in 1939), was design as a multimedia set of results showing the morphologies of diverse natural and organic phenomenons as well as the man-made environment.
The main installation was consisted out of a hanging (almost levitating) blank element on which the stereoscopic (anaglyph) animations were projected from two sides. In spectacular experience, observers (wearing Red-Cyan glasses) were entering a new dimension of an overlay between 3dimensional image and 3D object. The experiment was concluded as a juxtaposition to “conventional” theatrical viewing of 3D movies which are projected on flat surface and which appear as a “window” towards the 3D content rather than volumetric space with stereoscopic context. Projected animations were computer generated studies, simulations and results from morphological systems found in biodiversity of California.
Other exhibited work were Anaglyphic prints showing volumetric and surface related morphologies, viewed with Red-Cyan glasses. Here the stereoscopic geometry is based on Turtle skin, bone anatomy and cluster compositions found in organic context of Death Valley desert and Californian cost. The outcome is a synthetic reproduction of micro and macro scale omnipresent in nature.
Further, there were Lenticular prints (glasses-free 3D images) showing two particular samples of regenerated Turtle skin pattern and Cactus leaf relief as large scale topographies. The real depth of an image is achieved with special lens mounted on top of the print. With evolutionary process in digital computation, the experiment produced fractal relation between the large and small scale morphologies ubiquitous in organic context.
The final representation of digital morphology in the exhibition is seen through stereolithograph prints. These 3D ABS plastic prints are only few of the various tests conducted by extracting the information from organic compositions within images from the catalogue of biodivers[c]ity. The material in the catalogue is also overlooking the phenomenon of scale in nature and its fractal appearance of certain morphologies in different sizes. Therefore, there are satellite images of specific areas in California as well as close ups of the same, where one can read the repetition in the overall pattern and geometry.
MAK Center Artist and
Architects in Residents