Brandon Tay
Model A: Adversaries, 2023
3D printed sculpture with embedded media display and LCD display with dynamic video loop
32 x 18 x 26 cm
Copyright The Artist
>> Form & Agency Microsite >> Form & Agency Lore Wiki Tucked at a corner is the final model that closes the material makeup of the exhibition, Model A: Adversaries....
>> Form & Agency Microsite
>> Form & Agency Lore Wiki
Tucked at a corner is the final model that closes the material makeup of the exhibition, Model A: Adversaries. The last (as introduced in this text) 3D printed artwork takes on a gooey and molten configuration close to that of a brain (an association easily made owing to its pink paint coat). The work is named after the concept of generative adversarial networks (GAN) which is at the same time also the conceptual basis that informs its visual manifestation. Adversaries is Brandon’s conception of GANs in an organic and material form, imagined as a speculative artefact and artificial lifeform that is capable of summoning networks into living beings. Smelted into the artefact are four humanoid-like forms (described more accurately as anthropomorphic lab-grown homunculi in the lore) that act as engines for opposing and symmetrical desire-drives, instrumental in the manifesting process. In the artist’s mind, the work also becomes this allegory for a failed endeavour in shifting from developments of generative AI to a symbiosis of biological computation.
Full text by Rafi Abdullah
>> Form & Agency Lore Wiki
Tucked at a corner is the final model that closes the material makeup of the exhibition, Model A: Adversaries. The last (as introduced in this text) 3D printed artwork takes on a gooey and molten configuration close to that of a brain (an association easily made owing to its pink paint coat). The work is named after the concept of generative adversarial networks (GAN) which is at the same time also the conceptual basis that informs its visual manifestation. Adversaries is Brandon’s conception of GANs in an organic and material form, imagined as a speculative artefact and artificial lifeform that is capable of summoning networks into living beings. Smelted into the artefact are four humanoid-like forms (described more accurately as anthropomorphic lab-grown homunculi in the lore) that act as engines for opposing and symmetrical desire-drives, instrumental in the manifesting process. In the artist’s mind, the work also becomes this allegory for a failed endeavour in shifting from developments of generative AI to a symbiosis of biological computation.
Full text by Rafi Abdullah
Mostre
The Archivist Augurs, the Larper Dreams, 25 July – 24 August 2024, Square Street Gallery, Hong KongForm & Agency, 26 August – 1 October 2023, Yeo Workshop, Singapore