Synthetic Being Projects
A series of sculptural explorations into skin, the artificial, and the hyper-real. Silicone is used to replace the organic creating a synthetic flesh, this is the act of the prosthetic. Further prostheses can then be developed to be placed on the synthetic, thus distancing themselves further from perceived functions. This layering of different synthetics creates a hyper-real ontological structure, in which the artificial become as legitimate as the original organic.
The interest I had in mutation, amputation, and the Prosthetic lead to the beginning of this series in 2006, and much of the work I have done since has been built around this interest, and these projects. The level of hyper-reality can also apply to the effect of the casting and finishing. The synthetic flesh is cast silicone rubber, which is painted slowly in thin layers to achieve the shallow translucent effect of the skin. The hair is then implanted one by one with needles. I use much of what I learned making this early work in the technical side of my practice today, and return to this body of work often. The projects are presented chronologically
A series of sculptural explorations into skin, the artificial, and the hyper-real. Silicone is used to replace the organic creating a synthetic flesh, this is the act of the prosthetic. Further prostheses can then be developed to be placed on the synthetic, thus distancing themselves further from perceived functions. This layering of different synthetics creates a hyper-real ontological structure, in which the artificial become as legitimate as the original organic.
The interest I had in mutation, amputation, and the Prosthetic lead to the beginning of this series in 2006, and much of the work I have done since has been built around this interest, and these projects. The level of hyper-reality can also apply to the effect of the casting and finishing. The synthetic flesh is cast silicone rubber, which is painted slowly in thin layers to achieve the shallow translucent effect of the skin. The hair is then implanted one by one with needles. I use much of what I learned making this early work in the technical side of my practice today, and return to this body of work often. The projects are presented chronologically
Disarticulated Mutation 1
(Synthetic Being 1)
Silicone, Pigment, Human Hair
35cm x 25cm x 22cm
2006
(Synthetic Being 1)
Silicone, Pigment, Human Hair
35cm x 25cm x 22cm
2006
Disarticulated Mutation 1, 2, & 3
(Synthetic Being 1) (Synthetic Being 2) (Synthetic Being 3)
Silicone, Pigment, Human Hair Silicone, Pigment, Human Hair Silicone, Pigment, Human Hair
35cm x 25cm x 22cm 15 cm x 14 cm x 16cm 23 cm x 51 cm x 26cm
2006 2006 2006
(Synthetic Being 1) (Synthetic Being 2) (Synthetic Being 3)
Silicone, Pigment, Human Hair Silicone, Pigment, Human Hair Silicone, Pigment, Human Hair
35cm x 25cm x 22cm 15 cm x 14 cm x 16cm 23 cm x 51 cm x 26cm
2006 2006 2006
Disarticulated Disarticulation
(Synthetic Being 4)
Silicone, Pigment, Human and Synthetic Hair, Leather, Fibreglass
65 cm x 100 cm x 50 cm
2007
(Synthetic Being 4)
Silicone, Pigment, Human and Synthetic Hair, Leather, Fibreglass
65 cm x 100 cm x 50 cm
2007
Here the prosthetic was designed to replace a limb which existed only in the pre-mould, or pattern, stage of production. The purpose of the limb to the being, and thus the function of the prosthetic are questionable.
Detail
Flesh on Flesh
(Synthetic Being 5)
Silicone, Pigment, Synthetic Hair, Found Object
25cm x 30 cm x 20 cm
2008
(Synthetic Being 5)
Silicone, Pigment, Synthetic Hair, Found Object
25cm x 30 cm x 20 cm
2008
©Luke Hart 2008
