NICK ERVINCK

AGRIEBORZ

NICK ERVINCK AGRIEBORZ 22

source:nickervinckcom
For AGRIEBORZ, Nick Ervinck used imagery of human organs that he found in medical manuals as construction materials to create an organic form, a larynx (or voice box) ‘gone wild’. Though imaginary, AGRIEBORZ seems to retain some familiarity due to its visual connection to human organs, muscles, nerves, etc. Any coherent organization or structure, however, is lacking. The image becomes ungraspable, hovering in a virtual, potential or science-fictional world. AGRIEBORZ was first shown as a part of the show ‘Parallellepipida – between art & science’ in Museum M, Leuven (B) on a scale of 7 x 8 meters. Although 2D, it has sculptural qualities through its monumental size that incorporates the architecture it is shown in. After that, Ervinck realised AGRIEBORZ as a 3D print. AGRIEBORZ was largely inspired by the conversations Nick Ervinck had with two professors at KU Leuven: Pierre Delaere, a professor researching the larynx, and Koen van Laere, whose research is situated in neurology and nuclear medicine. This cross-fertilization inspired the image of a perfectly symmetrical cyborg figure. A sculpture like AGRIEBORZ not only points to the growing tendency of integrating technology in the human body, it also plays with the intriguing possibility to use living tissue as technological material. Today we are capable of creating replicas of human bones on the basis of 3D-models from CAT-scans. Bio printing, a new technology used to print organs, will be further developed and commercialized. Working in a close parallel to science, Ervinck is able to develop new realities that can in turn inspire scientists.
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source:cataloguea-difference-in-makingcom
This sculpture was designed following a period of studying medical manuals and fruitful collaboration between the artist and two medical professors. As a result, AGRIEBORZ resembles the anatomy of a larynx (or voice box) “going wild” over the entire figure.
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source:bildrechtat
Als Vorgeschmack auf das diesjährige Ars Electronica Festival, das von 8. bis 12. September 2016 in Linz stattfindet, präsentiert der Belgische Bildhauer Nick Ervinck im Bildraum 07 seine innovative und auffällig exzentrische Kunst, die – ganz im Sinne der Philosophie der Ars Electronica – neue Perspektiven auf unsere Natur, unsere Ursprünge und unsere Gegenwart eröffnet.

Ervincks Skulpturen schwanken zwischen dem Statischen und Dynamischen, bewegen sich auf virtuellen oder utopischen Gebieten und erinnern an organische Strukturen, anatomische Studien oder Rorschach-Test-Bilder, an Korallen, Insekten oder gänzlich fremde Lebensformen, die sowohl in Handarbeit, als auch mit Hilfe von 3-D Druckern, aus dem Kunststoff geschält werden. Flüssigkeit versus Feststoff – Natur versus Künstlichkeit – Zufall versus Beständigkeit, sind dabei die Themen, die den steten Dialog des Künstlers mit seinen Skulpturen bilden.

Immer balanciert Ervinck dabei auf dem schmalen Grat zwischen den aufwändigen Kompositionen und der Komplexität der traditionellen Bildhauerei sowie einer klaren, reduzierten Formensprache, die sich aus dem Einsatz neuer Medien ergibt. Ervinck stützt seine Entwürfe nicht auf programmierte Codes, sondern greift bewusst auf die klassische Handskizze, als unmittelbarer Ausdruck seiner spontanen Idee, zurück. Der Künstler wirkt so der Berechenbarkeit rein digitaler Kreationen entgegen und kreiert visuelle Hybriden, die organisch, geometrisch, flüssig, oder fest die unterschiedlichen Stufen seines Schaffensprozess exemplarisch dokumentieren.

Im Bildraum 07 zeigt er anhand der Arbeit ELBEETAD, die von der Üppigkeit der Rubens-Frauen inspiriert ist, wie neue Technologien verwendet werden können, um die kunsthistorische Tradition zu erneuern. Nick Ervinck verbindet den dekorativ-ästhetischen Ausdruck mit Funktionalität und siedelt seine Skulpturen zwischen mehreren Spannungsfeldern an. Dies verdeutlicht auch die detailreiche Arbeit AGRIEBORZ, die als wildes Labyrinth aus unzähligen, blauen Verästelungen zu einem Kopf heranwuchert und das Innenleben einige Millimeter unter der Hautoberfläche offenlegt. Gestützt auf aktuelle medizinische Studien und in enger Zusammenarbeit mit Neurologen der KU Leuven entstanden, spiegelt AGRIEBORZ als perfekt symmetrischer Cyborg-Figur die raschen wissenschaftlichen Entwicklungen auf dem Gebiet der Gentechnik und der Robotik wider.

Kunst und Forschung, Mythologie und Science Fiction, virtuelle Phantasien und weltbekannte, kunsthistorische Stile sind so gleichzeitig in Nick Ervincks Arbeiten vereint. Ergänzend zu seinen Skulpturen präsentiert der Künstler einen Fine-Art-Print und Videos, die einen Einblick in die Entstehungsprozesse seiner Arbeiten geben.
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source:independentcouk
“We are increasingly fascinated by the art aspect. The recent news around 3D printing has seen interest surge. The numbers of artists in contact is rising.”

As costs come down and the machines become more widely available, the community of artists choosing it as their medium is growing. From just over 20 artists in the first year of the 3D Printshow, there are now close to 45. Mr Plummer-Fernandez said he was attracted by the “creative energy that comes with emerging technologies” and the novelty of the new form.

Jim Stanis, a New York visual artist whose work is also on display, has been experimenting with 3D printing for two years. “This is basically a new medium for artists. How often in history do you get that?” he said. “In the past few hundred years you’ve had film, animation and photography. Those were all ground-breaking. This is the big thing of our time. The idea we can create things we couldn’t before is mind-blowing.”

Artists have travelled from all over the world to display at the fair. Kerry Hogarth, its founder and chief executive, said: “Artists are looking at what they can do with the technology. The gallery has grown and the ability of the artists is unbelievable.

“There are a huge amount of artists that are starting to step towards it. Some of those exhibiting were traditional sculptors and have made their first piece. They’re in awe of what they could achieve. It was something they couldn’t do by hand.” Lilia Ziamou, a sculptor who previously worked with stone and plaster, turned to 3D printing “because it is a new tool. It’s fascinating, it’s very exciting as a technology. The cost is quite high but hopefully it will come down quite soon”.

Louise Shannon, curator of digital design at the V&A, said: “It’s still pretty experimental. It’s the early adopters who are using it at the moment. When the material stabilises more, it may jump to the fine art market.”

The V&A explored 3D printing in a show called Power of Making in 2011. “It has often been deemed as the next industrial revolution. I’m not sure there’s another moment in recent history where you can say this changes everything as much as 3D printing,” Ms Shannon said.

It could take a big name artist to use 3D printing to take it to the mainstream, as with fashion when Iris van Herpen 3D-printed shoes.

“Last year we struggled to get five fashion designers that were at the quality of the catwalk,” Ms Hogarth said. “Now we’re turning them away.”