ИВ БЭЙЛИ
ENTASIS DANCE IV
My work is based on the concepts of balance and coordination. The body interests me as a perceiving mechanical structure. I use my own body as a primary tool to create pieces that experiment with equilibrium through physical, mechanical, plastic and conceptual means. My studio practice is rooted in the tradition of the artist engineer. I design and build suspended and pendular constructions that can sustain their own weight and mine as I perform with them. By climbing and inverting on the structures, I challenge my own perception and creative process.

Intuit
The movements of one individual effect the balance of the piece so greatly that the other person must move to balance the sculpture. ‘Our bodies are constantly adapting and bending to the configurations of buildings and the designs of transportation. In recent drawings, urban blueprints fuse with human anatomical representation… I emphasize on the ideas of flexibility and lightness. The machines I build serve to express the elegance of a gesture, a finite moment of equilibrium.’ Eve Bailey

Abb
A playful balancing act by a robotarm. This enormous machine balancing itself on a stainlesssteel semi sphere. When the arm moves, stretches, the balance point of the entire construction shifts which makes the whole machine lean over until it -almost- tips. The robot seems curious to find its tipping point, searching for the limits of balance without ever really being able to fall over. The machine is playing a children’s game with enormous power and robotic precision.

Terraforming
The video work “terraforming” focusses on the transformation of a natural environment through energy input. The underpinning idea is that of three phase system change. This begins with the stage of equilibrium where a system is in a certain balance and not changing at all. In the next stage an evolving system enters a state of motion and change where it moves away from equilibrium. The third and final stage is the phase of transformation in which the original system becomes something else. The key element in this transformation process is the sun. This process is called terraforming, whereby a hostile environment, i.e. a planet that is too cold, too hot, or has an unbreathable atmosphere, can be altered to make it suitable for human life. Such a process is not merely a futuristic scenario but represents exactly what is happening on Earth at this moment as the process of atmospheric change brought about by increasing CO2 emissions heats up our planet and speeds up the process of climate change.
video

Equilibrium Variant
This work has the purpose of exploring the occurrence of the Larsen effect (also known as feedback) through the use of mobile devices in a three-dimensional space. The distinctive screech of the Larsen effect typically occurs when a microphone catches the sound emitted by a speaker. It engages when the microphone is located too close to the speaker, and gets in the way of its frequency. The microphone amplifies and reproduces the speaker’s frequency with an ever-increasing width, virtually unlimited, in practice stopped by the amplifier’s clip. On a ground support, two mechanical arms are located. At the end of one arm there is a microphone, and on the end of the other there is a speaker. A software, created with this specific purpose, manages the position of the arms in a dynamic way, and provides that the distance between the microphone and the speaker never causes the amplifier to clip. This way, the system tends to reach an equilibrium that is physically impossible to attain. The struggle to balance creates an acoustic and visual dimension that is never the same: the frequency of feedback and the movements of the mechanical arms are always different and change in real time.

Captives
Captives is an ongoing series of digital and physical sculptures by Quayola and a contemporary homage to Michelangelo’s unfinished series “Prigioni” (1513-1534) and his technique of “non-finito”. The project explores tensions and equilibrium between form and matter, man-made objects of perfection and complex, chaotic forms of nature. In this series mathematical functions and processes describe computer-generated geological formations, endlessly evolving and morphing into classical figures resulting into life-size ‘unfinished’ sculptures.

captives
“Captives is an ongoing series of digital and physical sculptures, a contemporary interpretation of Michelangelo’s unfinished series “Prigioni” (1513-1534) and his technique of “non-finito”.
The work explores the tension and equilibrium between form and matter, man-made objects of perfection and complex, chaotic forms of nature. Whilst referencing Renaissance sculptures, the focus of this series shifts from pure figurative representation to the articulation of matter itself. As in the original “Prigioni” the classic figures are left unfinished, documenting the very history of their creation and transformation.

Fontaine I
Vincent Ganivet (b. 1976, lives and works in Ile-Saint-Denis) maps out a territory halfway between accident and equilibrium, work of art and found object. Going back to elementary forms (the circle) or architectural principles (the keystone), he renders their orthodoxy fragile by putting them into a state of instability.

Super Asymmetry
Vincent Mauger’s sculptures do not just stand on a site, they bring pressure into it. The relationship to the site is an intrinsic part of the artist’s work, he questions the space in order to reveal its breaking and equilibrium points. From the adequacy between the occupied space and the shown volume, resonances rise towards the spectators’ sensitivity. The spectator is caught by the play of the surfaces, the hollow and the solid, he experiences a stimulated landscape which scale oscillates between the infinitesimal and the colossal.

ИВ БЭЙЛИ
Tongue in Cheek
My work is based on the concepts of balance and coordination. The body interests me as a perceiving mechanical structure. I use my own body as a primary tool to create pieces that experiment with equilibrium through physical, mechanical, plastic and conceptual means. My studio practice is rooted in the tradition of the artist engineer. I design and build suspended and pendular constructions that can sustain their own weight and mine as I perform with them. By climbing and inverting on the structures, I challenge my own perception and creative process.
With the combination of the two mediums sculpture and performance, I seek balance in the mind versus body relationship. My work alternates between theory and practice. The intellect occurs in the engineering of my structures and the sensuality arises from my body in motion, bringing together two talents commonly thought as disparate: male versus female, rational versus instinctive. All my pieces are created upon contrastive ideas and principles. I constantly play with contradictions whether they are of visual, physical or conceptual nature.

Les Paroles

According to Jan Vercruysse, art no longer has a place in this world. As a result, he seeks, through his work, a new place for art and new conditions in which to work. His earliest photographic works recreated historical subjects, such as self-portraits, still lifes and mythological scenes. Gradually, he evolved a sculptural vocabulary of narrow rooms, empty frames and bases without objects. The sacred spaces created by Vercruysse in these works are known as Chambres or Tombeaux and represent the artist’s last-ditched attempts to create art that refers only to itself. His later works, such as plaster pianos, blue Murano glass musical instruments and bronze and ceramic turtles, achieve a perfect equilibrium between conceptual conviction and aesthetic concerns, and also reflect a real pleasure of making.

Dissonant Equilibrium
Isabelle Andriessen is a visual artist born in the Netherlands (1986). She studied at the School of the Arts Institute of Chicago and the Gerrit Rietveld Academie (NL), where she received her BFA in 2013. Currently she is an MFA candidate at Malmö Art Academy (SE). She lives and works in Amsterdam and Malmö. She is a recipient of the Prins Bernhard Cultuurfonds Fellowship. Her work consists sculpture, installation and performance and has been presented in places like Optical Pavilion, Moscow, Unfair, Amsterdam and Mediamatic Amsterdam. Her work has been presented in online art magazines like Metropolis M and Mister Motley. In July 2014 her work has been mentioned in VOGUE Russia. Recently she has been collaborating with the Dutch National Ballet. Her recent work concern the sensory experience examined through light installations and performances.

Ив Бэйли
intuit
rue to her artistic values, the piece emphasizes balance, movement and gravity. ‘intuit’ is a 25 foot long collapsible teeter totter with a beam rotating on an axis 5 feet off the ground. two dancers balance on either side of the platform, responding to the movements of one another; any shift made by either individual has a great effect upon the equilibrium of the structure. bailey developed ‘intuit’ through performance, drawing, maquettes, sculpture, photographs and video.

Equilibrium

Self Organizing Still Life
Acoustically stimulated Interactive Sculptures
David Fried’s “Self Organizing Still-Life” (SOS) is a series of interactive, sound-stimulated kinetic sculptures, which reveal his exploration into the inherent qualities of networked and emergent systems operating far-from-equilibrium intrinsic to nature, individual psyche, communication and social relationships.

Equilibrium 1