︎
AboutWork / Shop // ︎ // ︎  
MA Thesis ······ Kent State University
Medium ········· 3D Printing, CNC plastic
Year ··········· 2017-2018
Concept ········ Anthropocene, AI, War




Rehabilitation Center

    Human nature is commonly perceived to be an explanation for many of our social behaviors. It suggests that we are inseparably linked to our animalistic tendencies. Actions like territorial oversight and expansion, resource domination and the management of population through hierarchical systems are found throughout the natural world, not just in human culture. So what then makes our anthropocentric viewpoint appear to stand on higher moral ground? That foundation can easily liquify when behaviors like greed, short sightedness, militarism and secrecy are explained away by 'human nature'. he culture of capitalism plays a crucial role in the design language of the work, where both nostalgic and contemporary allusion is used to connect the past, present and future realities we inhabit. Delta-winged forms of pilot-less military aircraft serve as graphic placeholders for concepts like border enforcement, resource wars, surveillance and technological disparity while being characterized through interaction with their environments to extract an unconventional solvent, dissolving their contemporary context. Being suggested in this body of work then is a new train of thought. This 'disanthro' thinking inhabits an alternative reality where decisions made behind closed doors are exposed and where universal experiences such as compassion, intrigue, togetherness and play illuminate a restorative path through the darkness of our potential futures, the Anthropocene.

Rehabilitation Center  CNC Milled HDPE, CNC milled wood, steel wire, aluminum standoffs, wood, hardware cloth, shredded cash, vinyl roofing, paint


Together Again
SLS 3D prints, cast concrete in the shape of drones, paint, steel



Suburban Strut
CNC milled HDPE, aluminum, steel, turf, wood, lights 







The Bird and the Beads
SLS 3D Prints, CNC machined HDPE, glass,
wood, paint, flocking, tiny rug



Feeding the Birds
Performative video piece, 3 step conversion to Mac OS 9, played on loop with Quick Time on 1999 Apple iMac








Series ········· Drones
Medium ········· CNC milled wood, plaster
Year ··········· 2017
Concept ········ Surveillance, War

 


War Birds
    This series explores the imagery of autonomous aerial surveillance systems, their emotional context and ways to transform them. From model shillouettes hanging in windows, to cast blue tiles with the topographic textures of Afghanistan; many angles are explored to investigate the relationships to these shapes. 





Series ········· Mines
Medium ········· CNC milled foam, 3D prints, silicon, cake
Year ··········· 2016
Concept ········ Land use, consumption, metaconsumption



Let Us Eat Cake



    Land use is a topic that fascinates me, and I love to scour satellite images for interesting features on the surface. The gaping holes dug in the ground by Humans show the physical scars of our consumption of the Earth’s resources. Ironically, the data gathered from space of the land’s surface and our marks upon it couldn’t have been made possible without the mineral extraction in the first place. It is a paradox we live in, so I decided to consume the consumption. Using 3D printing, food-safe silicon mold interts were created to bake the surface of Bingham Canyon Mine into the bottom of cupcakes. When finished the cakes became small 3D topographic maps of the largest open pit mine in the world. They were served at an event along with some of my other work about mines. 



Smeediphones


 

    The Smeediphone series is an ongoing and ever evolving project that seeks to rediscover the intuitive connection with folk instruments in a 21st century context. With a parts-bin style of building and a playful disregard for traditional norms, these instruments act and respond very differently compared to their standard electric guitar counterparts. One of these, Smeediphone 2, was used in the theatrical production of ‘DP92’ by Dallas-based production company Dead White Zombies in 2015.
   
    To foster a more visceral and intuitive relationship with the Smeediphones, their strings float over an inch off the neck, with a single fret that slides parallel to the string hovering above it untill you push down touching the string. The downward pressure can also be used to controll pitch. With the body as an amplifier, the resonance of the speaker can recycle back into the string and continually resonate the instrument without interaction.  
   
    This phenomenon of resonance I explored further with Smeediphone 3. In this project, I endeavored to give the wind a voice so as to let the atmosphere speak for it’s self. The string is the hypotenuse of a right trinagle, with the base aluminum rod extending past the end. At the tip of the base rod is an air foil that catches the wind and disrupts the tension of the string, changing pitch. A different song is played in each situation depending on the winds. 
Series ········· Smeediphone instruments
Medium ········· Electric guitar
Year ··········· 2015 - continuing 
Concept ········ Rethink how sound is made 



Above: Smeediphone 2 played by Adnan Khan in DP92Below: Smeediphone 3 wind test
 


Test video for Smeediphone 2 showing alternative play style and resonance features.
Wearables and Art Jewelry



    Making art specifically to be worn has always excited me. My undergraduate training was in jewelery and enameling, so tiny pieces of art that can be taken with you on the body will always be part of my work as an artist.
    The format of the brooch is particularily of interest to me. I see them as tiny paintings, worn out front to be seen or make a statement. Brooches offer a chance to create something very sculptural while still being relatively unobtrusive.
    The way that jewelry can augment the body is fascinating to me, especially when kinetic elements are incorperated. Much of my art jewelry and wearable work has a performative aspect to it. Due to the direct phydical interaction with the work I tend to gravitate toward each object having some sort of ritual function within a contextual framework, whether real or imagined. 






©2019 — Matthew Loren Seeds