Human Structures (and prayers for respectful moralities)
Deitch Projects, New York City, 2006
This exhibition signals the first time works from this all-encompassing Human Structures idea - structures created by humanity itself - were publicly shown. In the Deitch show, there were wall works created with 10" interconnecting semi-transparent polycarbonate figures (male and female). The figures snapped together to create an open organic lattice-work. Also in the exhibition were larger colorful transparent polycarbonate male and female figures that interlocked 3-dimensionally to create freestanding structures, like walking around and looking through a 3-dimensional painting - colors seen through colors through colors. And, finally, there was the larger galvanized steel structure, made up of 366 life-size figures - eliminating a male and female interlocking concept in favor of a more digital androgynous representation of the human form which bolted together. The structure stood 45' x 11.5' x 18' tall, and once again, emphasized an organic structure totally open, yet all connected together: humanity connecting together to build itself.
The 'prayers for respectful moralities' part of the title for this exhibition referred to the sound in the installation, an 11-song CD in which Borofsky used a computerized control system to manipulate digital loops of his singing voice, creating an ambient, prayerful atmosphere within the space.
Deitch Projects, New York City, 2006
This exhibition signals the first time works from this all-encompassing Human Structures idea - structures created by humanity itself - were publicly shown. In the Deitch show, there were wall works created with 10" interconnecting semi-transparent polycarbonate figures (male and female). The figures snapped together to create an open organic lattice-work. Also in the exhibition were larger colorful transparent polycarbonate male and female figures that interlocked 3-dimensionally to create freestanding structures, like walking around and looking through a 3-dimensional painting - colors seen through colors through colors. And, finally, there was the larger galvanized steel structure, made up of 366 life-size figures - eliminating a male and female interlocking concept in favor of a more digital androgynous representation of the human form which bolted together. The structure stood 45' x 11.5' x 18' tall, and once again, emphasized an organic structure totally open, yet all connected together: humanity connecting together to build itself.
The 'prayers for respectful moralities' part of the title for this exhibition referred to the sound in the installation, an 11-song CD in which Borofsky used a computerized control system to manipulate digital loops of his singing voice, creating an ambient, prayerful atmosphere within the space.
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