Machina is a 3D animation portraying the compressed time and space of painting, shows a dreaming character whose slow, drowsy movements articulate all of the minutia of a single moment. Machina uses the most advanced techniques of virtual reality simulation, and a series of animations that result in a representation that is sensual and organic. Occasionally, Machina opens her eyes to gaze at the viewer, in a moment of transformation, allowing the object of our gaze to subject us to hers. Based loosely on works such as Titian′s Venus and paintings by the Baroque artist Peter Paul Rubens, Machina is meant to introduce sensuality into the virtual realm by employing an idea of beauty as defined by a woman. In doing so, Machina inverts the language of the character animations familiar from 3D gaming, not just through its visual language but also rejecting the violence and aggressive speed that typifies the genre.
Framed screen: 15 x 23.5 x 3.5" / 38 x 60 x 9 cm
Shelf: 3.5 x 16.8 x 9.6" / 9 x 42.5 x 24.4 cm
About Claudia Hart
Claudia Hart’s works juxtapose the futuristic and the classical, combining 3-D animation software with such canonical images as the nude female form and still lifes of apples. Hart presents themes of death and the inevitable ravages of time, offset by a vision of an alternate technological universe in which plastic bodies elude decay. Though patently artificial, the figures in Hart’s film installations emote in a recognizably human way as they are put through often agonizing processes involving containment and atrophy. For the series “PhotoMortifications” (2007-2009), Hart superimposed 3-D images of decomposing statues on to photographs of large modern public interiors. In a similar interplay between artifice and authenticity, “The Real and the Fake” (2011) features photographed edibles of questionable nutritional value with computer-generated images of flawless apples, inspired by the decline in the quality of food.
American, b. 1955, New York, New York, based in Chicago & New York