SH-SUPER_HUMAN

2019-2020

Illustrations printed on Satin (digital print)
Technique: 3D Modeling, Postfotography

Sculptures
Technique: 3D Modeling and 3D print

Keywords :human characteristics, desire, identity, skin, 3D models, penis, boobs, human body, Artemis in Ephesus, normalization

The impulse to depict the idea of the human, the relations of the human body in an embedded space, and gender as both a morphologic attribute and a force that extends beyond the human body, provides the motive force for this work.

Through body architecture, SH-SUPER_HUMAN addresses multiple topics, pursuing diverse lines of inquiry, such as gender construction and the awareness of the human body in a network of complex spacial relations. The work asks to what extent biomorphic characteristics define the human and its gender, and questions the role desire plays when humans attempt to define themselves and their relation to the environment.

Language defines our reality, our space, and our concepts. The title of the work bears witness to the linguistic spaces in which the artist moves: the Spanish (SOBRE_HUMANO) and German (ÜBER_MENSCHLICH), literally translate into English: superhuman / about a human / over the human. The work attempts to embody this pun, placing the image’s main character in the centre of the space, its skin acting as the anchor for moving organs and vectors that exist within a larger networked interaction. The human tissue forms an inverted body of relations between the micro and the macro. In this sense, SH-SUPER_HUMAN reveals a segment of the wider picture of ‘the human’.


The graphic core of the artwork are 3D models purchased from the internet: ‘realistic penis for 3D printer 3D-model’ and ‘boobs for your character’. These 3D files, after further graphic procedures such as reduction, repetition, and composition, and following digital processes such as 3D modelling, rendering, and other post-photographic techniques, evolved into a new image, a snapshot of a process finally physically visible on a digitally printed fabric (satin). The use of finished models, ‘body parts ready for consumption’, evokes the construction of imagined bodies proposed by an internet marketplace aimed specially at the sex and video game industries. Besides acting as a 3D skin, SH-SUPER_HUMAN delineates the combination of these 3D parts, allowing new interpretations of the body across a continuum that extends far beyond heteronormative models. Moreover, the (overdressed) excessive number of penises and breasts on a single body mockingly questions the definition of gender centred on visibly different morpho-‘logic’ human parts.


The resulting image presents a group of networked, variously sized human bodies: a matryoshka doll, with differing gendered layers nested within one another, not merely a repetition of a single body in different sizes, but as an interwoven group connected as one with the outer layer, including the environment or background into which these bodies are inserted. SH-SUPER_HUMAN could be seen as the extrapolation of the immediate space occupied by the human body that comprehends different anatomies and the strings created from its relations with the environment, which act as an elongation of the body itself. In this sense, that which is ‘on top of’ becomes part of the whole, beginning with the central or smallest figure of the matryoshka, until the outer layer – the act of finally unfolding the 3D vector forms – builds the SH-SUPER_HUMAN space and existence. A vivid 3D image projecting an overall view in which each layer, background included, carries equal significance.

 Participant of the exhibition TIME SPACE EXISTENCE 22.05.2021 - 21.11 2021
Palazzo Mora, Venice (Italy
Within the frame of the Architecture Biennale, with the support of the city of Linz (Austria) and Austrian Culture Forum Milan

 

 

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