Artsy: You used open-source engineering databases to source the models for the 3D-printed components. What is the reasoning behind this? How did you ultimately choose the models you worked with?
EM: I use objects that already exist in this immaterial realm that may or may not (yet) physically exist to enforce this idea that there is a world of objects that lives in an alternate space. I compiled the objects (including some of my own) over a period of a few months to create my own database to pull from. I was mostly looking for mechanical parts like nuts and bolts to give the impression of components coming together to make structures, but the functions of all the original models are subverted so the original function becomes irrelevant. When it comes down to it I’m selecting the objects based on their size, shape and visual interest, and ability to print. I am the ultimate decider of the scale, material, and function of these parts.
Artsy: The obstructed scale of the objects lends a surreal quality to the work—how did you make these kinds of decisions?
EM: The scale of the parts on the tables is based on the scale of the ‘found’ material I’m working with. The dimensions of the steel rod and maple components are all based on common dimensions of structural furniture members. They’re intended to look like they belong together while remaining uncanny. I chose a large bulb and larger printed parts for the pendant lights because there isn’t necessarily a point of reference for something hanging the middle of a room. Messing with scale in that case really distorts a sense of perspective.