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Kenosis, 2015: 3D Printed Terracotta Heart, Replica of Artist’s, Wins 64th Blake Art Prize

by • February 15, 2016 • No Comments

images (4)Whilst many enthusiasts are enjoying their 3D printing equipment to fabricate a wide range of fun things at the PC of figurines to phone cases and tablet holders, many others in these days are in addition thanking the innovation profusely as its additional intricate applications have improved the high end of their lives, or actually saved them. It has become the difference between life and death for a number of folks who now have a new lease on life thanks to 3D printed prosthetics, 3D printed models of kidneys and livers too.

Now, the innovation is being utilized to highlight the human heart—and in an award-winning way—delving into life and death of an artistic and philosophical viewpoint. The subject of our mortality is of course an ongoing theme in art, spanning numerous mediums—and centuries–but Yardena Kurulkar of Mumbai unquestionably arrived upon the theme via a one-of-a-kind route, observing how brutal, cold conditions can affect clay. As she worked in Canada, far of home one winter, she noticed how sculptures began to deteriorate as they lost their moisture altogether, resulting in cracks and a sort of astonishing decay that she discovered deeply inspirational for her own work—Kenosis, 2015–that has only won the 64th Blake Art Prize.

“The unintentional and unstoppable decay sparked comparisons in my mind with human flesh, that allowed me to address a long-standing preoccupation with death,” says the artist of her work.

Choosing a quite new and amazing fabrication technique to deal with subject matter as old as the ages, Kurulkar unquestionably catches the eye—and sparks curiosity—with her 3D printed hearts, allowed to erode in moisture to show the symbolism in life and actuallytual death.

“I use water to portray the passage of time and in addition as an agent of purging,” said Kurulkar. “I let the viewer see what remains of this union – a heart-shaped a thing, a mere lump of clay.”

To manufacture it actually additional deeply very own, the heart depicted is a terracotta replica of Kurulkar’s.

“I turn it into moments of confrontations between life and death,” she says. “My works are acts of surrender to the inevitability of the end. They are presented as part of a cycle of continuous regeneration … discovering my own mortality and contemplating our collective fear of death.”

“This work is an take on to capture the erosion, resurrection and elusiveness of human life.”

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Damien Shen won the Emerging Artist Award and attained $6,000 for his work, ‘On the Fabric of the Ngarrindjeri Body.’

This competition, and corresponding exhibition (indeed bringing its name of artist William Blake), that deals with religious subjects of impact, is now held equite other year and is talked of one of artists of all over the world. This year, there were 594 entrants of a total of sactually countries. Judges were:

Tim Costello, CEO of World Vision AustraliaLeanne Tobin, Indigenous artistAmanda Lawson, Professor at University of Wollongong

Director of the Casula Powerhouse Arts Centre, Kiersten Fishburn, says the judges were unanimous in their decision—and the first-place artist was competing against a few of the world’s many highly regarded artists.

“The work has many allusions, of the Venus of Willendorf, to our common and universal belief that actuallytually our corporeal form decays and ends,” she says, and in congratulating Kurulkar, says that her work was a unanimous choice by the judges.

“There is a thing primal and rich of the use terracotta and the form of the heart,” said Fishburn. “The work is a moment of both life and death.”

Kurulkar was awarded an astounding $35,000 for her first-place win, while Damien Shen won the Emerging Artist Award and attained $6,000 for his work On the Fabric of the NgarrindjeriBody. In addition, in a quite amazing turn, Robert Hague can be appointed to the inaugural Blake Residency program–a one-month residency–and a solo exhibition at the Powerhouse for his work This Messenger.

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‘Kenosis, 2015’

Because this exhibition and competition is so well-known for provocative subject matter, sponsorship can be an issue, that was demonstrated last year when all of the sponsors pulled out. The exhibit was saved yet by the Casula Powerhouse, siding with artists and their right to manufacture statements regarding the world we live in. Casula Powerhouse in addition provided and increased the prize money given.

“This year’s Blake Prize is one of the most in its history – we have so much diversity of traditional art techniques to video works,” said Fishburn.

You can catch the exhibit, free to all, at Australia’s Casula Powerhouse Arts Centre until April 24th, after that it can travel throughout Australia. What do you ponder of the subject matter? Discuss in the 3D Printed Heart forum over at 3DPB.com.

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Robert Hague can be appointed to the inaugural Blake Residency program–a one-month residency–and a solo exhibition at the Powerhouse for his work, ‘Messenger.’