Sploosh! Thwap! Plip! Can’t you hear the sound effects? Here, a deeply muted, evocative take on abstraction from Emilio Gomariz.
Imagine it’s 2009. Addressing “digital color” was still a new concern. In HTML Color Codes (2009), an online exhibition curated by Carolyn Kane for Rhizome, each digital artist was assigned a color to interpret in its vastness. Kane says at the time it was widely assumed that “artists working with the internet are in fact limited to a ‘ready-made’ color palette.” Well, as we can see with a work like Jacob Broms Engblom’s “Gold,” digital color isn’t a limitation; it’s an asset.
I get that people get their rocks off to different shit, but is there any way anyone, anywhere finds Michael Green’s genital-less, 3D-rendered barbie bodies even vaguely erotic? They aren’t fucking so much as they are twitching and waddling near each other.
“BODYWORKS I-IX” is an exploration of the unconventional, though, which I guess explains why the guy above moves his mouth in the same way a fish might. For an inside look at the artist’s intentions, the online exhibition space Digital Sweat generously provides a statement.
BODYWORKS I-IX examines the nature of sexuality, exploring new methods of sexual expression, and asks, what can be erotic? Two conditions were applied to the construction of the objects:
1. Sculpt one male and female into a sexual arrangement until the sexual act appears “unconventional.”
2. Position in detail the movements of the body until the artist becomes mentally/physically aroused.
These two compositional methods deconstruct the traditional cultural sexual positions that we are accustomed to, displaying the complex range of human sexual nature’s penetrating erotic form, in its primal state of unconscious desire.