Manzione describes his previous sculpture as being either vaginal or phallic, and by merging the real and the virtual in this show he appears to have bridged that dichotomy. Manzione seems to be taking a cavalier attitude to what others see as meaningful distinctions, butting supposed opposites up against each other just to see what happens. The ability to do so stems from the mutative origin of the work: each of the pieces in this show began as a small impromptu collage of disparate objects. He then scanned the collages into a computer, producing a 3-D model. Those models were then output into the physical world with a 3-D printer. At that point, Manzione envisioned All Surfaces as a show of printed 3-D objects, but that changed when the scanned models were textured and transformed into prints and AR sculptures. At each iteration, the distinction between the original idea and final object became blurred, and what remained were the myriad products of this constant churning. Eventually, the idea and the resulting objects became bereft of origin, manifesting themselves at times physically and at other times virtually.
Christopher Manzione: “All Surfaces Become One” @ Center for Contemporary Art, Sacramento through November 14, 2013.
doug biggert says
“encroaching ubiquity”? david, not as arcane as barthes. but better left to pincus-witten’s spiels in old art forums. he was the chip that stopped my reading back when the sandal shop wall was being made. doug