Winkleman Gallery is very pleased to present Nano-Nonobjective-Oriented Ontographs and Qubit-Built Quilts, our third solo exhibition by New York artist Shane Hope. Featuring two series of new work, the exhibition runs March 29 through May 4, 2013. In the gallery project space, we will also present a selection of Hope’s “Folk-Computronium Laptops.”
Accelerating progress in nanometer-scale science and technology continues to expand the toolkit with which we can eventually assemble things from the atom up. This will potentially give rise to nearly costless systems for controlling the structure of matter itself. In the interim, the 3D printing revolution is said to have already arrived, promising content-to-print solutions and on-demand means of increasingly customizable production. But molecular manufacturing and 3D printing won’t merely make for an end to material scarcity as we know it. These so-called “abundance” technologies will make for objecthoods the likes of which we’ve not known and maybe can’t know this side of some sort of technological singularity (i.e, the theoretical emergence of superintelligence through technological means beyond which events cannot be predicted). It’s in anticipation of that reality race that Shane Hope’s work starts.
To foreshadow an age of hacking matter, Shane Hope uses molecular modeling research software and crafts custom code to grow generative molecular designs and algorithmically automate alternative representations of nano-scaled structures. With intent to literally convert digital bits back into atoms and properly relate the operative ideologies of 3D-printing to the research and development of theoretical nanofacture, Hope has hand-hobbled together from scratch a number of RepRaps (3D printers) which he uses to materialize (or literally to print) his amassing cache of newfangled nanomolecular models. Hope collages together thousands of these 2D rendered and 3D printed models into painterly compositions depicting things organic, inorganic, synthesizable, theoretically feasible, nonsensical, and nonobjective.
The resulting artworks, in series called “Nano-Nonobjective-Oriented Ontographs”, “Qubit-Built Quilts”, “Post-Scarcity Percept-Pus Portraits” and “Scriptable-Scalable Species-Tool-Beings,” offer visual art answers to technological singularity blindsightedness; that the future’s futures can’t really be foreseen. How can we hope to depict the runaway imaginings of accelerated artificial intelligences? What will it look like if and after our overclocked-offspring (quicker-thinking posthuman descendants) decide to disassemble everything we know for spare parts?
Forever optimistic, Hope puts forth these pieces as plans for playborground ball pits of pure operationality all about an atomic admin access-privs picturesque. He considers them compendia serving to lay bare the interobjectivity between nanomolecular unit operations; to abandon anthropocentric narrative adherence; to show how the sum of the parts is greater than the whole; to inscribe object-to-object fault lines of relata distortion on equal ontologically flattened footing with humans; and to display the density of how much can simultaneously exist more like manifold meanwhiles all the way across.
In Hope’s own words, “So run this, for here’s how you in the form of pathetic-prophetic techno-poetics for reals forge future’s futures: nano-nonobjective-oriented ontographic scribblin’ on scriptable-scalable species-tool-beings quacker-castin’ computronium-clouds of kilo-IQ’d collablobject-oriented co-op-corporeal commons-clusters playborin’ with post-scarcity percept-pus and prescient-peek-a-boo public-panopticon-powdered plunderware-portraiture of plans for playborground ball pits of pure operationality all about atomic admin access-privs picturesque grey-gooplexus-thunkuppetrees qubit-built-quiltin’ algorithmicracked-out junk-DNAnarch-keys to un-nanoblockonomic-lock fine-joules-bots that gots-lots-o-watts spinformation-supportin’ scenariopolist rapturama-root abundance-heck-tech-wreckonomical enzymin’-rhymin’ chmodder-fodder for smartdustormin’ mass-mod-mood-meds runnin’ on you runnin’ on hyper-necker-deathcubes quture-sporecastin’ syncthetic smartificially-exprisoned empathologically-infacteous connectivitis-cognitariats called upon to camouflage the protocol-onization of everythingyness upwhen on a lifefile::path towards a mass2sapient-ratiocracy gettin’ smartfaced and uploaded addin’ add-ons off your overclocker rocker perv’d POV-vapor Xmit rights to far edge soylent green tea party uploadside your headers of bequestorbot blobjecthoodlumist bucky-luck-lock logicages-gates computtin’ uh handicrafted e-cap in your app-portential meat-splaced-out smartmatter of nanofacturally date-stampeded data-debased nDiagrammatic copylution-commodity cross sections of compound cutaway exploded view shish ka-bombs higher-ordermensionally hackin’-hockin’ chem-phlegm loogie-loggin’ one man bandwidth’d biochippin’ off the old-bad-blocks-bunchallianced punchin’ the overclockin’ cached-advanced chronoughty pathetic-prophetic techno-poetic cognitive haze phraseologies pharmosomally flocusin’ femtofactured-fluidentifried-fleshionistas fee-willin’ click-fraud false-flag-phishin’ for masstaken-iPlentities so omega-pointless slashdot-to-dot-subthreaded by buy/cellutility-swarms of soul-splinterferin’ spaculativernaculareerin’ sumplace skiddie snarfin’ sporgery zombie noo-zoos transubstrationally timeshearin’-taggin’ envirornamentally-challenged infomorphiliac-biorouters backscatterin’ bloodstream-slummin’-it up hick-hackenstantial thought barrier robber barons’ sapient-sopper see-source-serum sci-fi-lustratin’ morph-feral-foglet-fabbed fertilizer for fornicode for misalignment-matter mogul mashmobsters manipulatin’ malfoamational monay-yay markets for metacompetitive metabolisms of things-executin’-things-executin’-things-executin’-things…”
Shane Hope received his MFA from the University of California San Diego in 2002 and has attended the University of California Los Angeles, the San Francisco Art Institute, and the Skowhegan School of Painting and Sculpture. He has exhibited at Virgil de Voldere Gallery in New York; I-20 in New York; Project Gentili, in Prato, Italy; iMAL (interactive Media Art Laboratory) in Brussels, Belgium, Rosamund Felson Gallery in Los Angeles and Susanne Vielmetter Los Angeles Projects. His work will be featured in the Fall 2013 exhibition entitled “Dissident Futures” at the Yerba Buena Center for the Arts in San Francisco.