The wire tapestries contains shape memory nitinol wire, which comes in a variety of transition temperatures. When shaped below the transition temperature point, it can be manipulated and morphed. However, when the embedded temperature is applied, it will straighten out. I had the opportunity to manipulate each transition temperature so that each corresponded to a different profile curve. The concept is that as temperatures increase, these profile shapes will sequentially emerge and start manipulating the overall form. These act as warnings, indicators of changes in the environment, but also suggest that we can predesign shifting forms that anticipate our future needs. Subsequently, the temperature timeline progresses to post-human conditions, questioning what remnants will be left behind. 
 

Process shot of Untitled (Metal Facade)
4 x 9 "
aluminium jigs, designed by Dani, milled by Ben Lyons

There are sharp differences in how we perceive the dirtiness of a tarnish versus a planned patina, a detailed conscientious engraving versus a scuff; our strange fixations and balances in intent, age, and value. An aged build-up of oxidation and coloring versus a splotchy mess. Our fixation on producing single-use objects with materials that last forever, with no qualms about discarding them, and our silly shifting stylistic tendencies. We build things for a lifetime, only to tear them down in 50 years, wandering to seek newer and better. Undoing is the only way to find stability in unstable ground, and investigational proposals are the only solution in dismantling to provide speculative portals for alternatives. There is an odd tension between the idea and intent (object) and its communicator (material and skin). The relation between is the signifier of use and desire; manipulation of this tension offers a new collaborative aesthetic.

5 x 3', steel and hardware
Metal facade partial assembly

The metal facade exhibited clear signs of aging, which are usually unwanted but inevitable. This gradient (shown in greater detail in the exhibition shots) illustrates mobility at the beginning through the use of anti-seize lubricant and the eventual rusting that causes the pieces to lock in place. Over time, as the track deteriorates, the bolts will fall from the small lip that keeps them aligned and will collapse. The aim was to question not only our material expectations but also our topical associations with rust and aging.

Detail of Untitled (Metal Facade)
 8 x 5" each, steel