Ashley Zelinskie works in a future where we have reached the singularity and machines live on par with humans. Her work examines the way machines and humans view the word differently and how works can be made that can be appreciated by both. Her laser cut and 3d printed objects are covered with hexadecimal code which, in the simplest sense, allows both human and machine to observe the object – if a computer were to read the code it would ‘see’ the object.
There are some interesting questions within her work around how to teach machines to see art, how to give them an appreciation of the subtle, the non-logical. But I’m not sure where the work goes from there? If this future she imagines is not reached then does the work become less? If machines do become able to read the work does it lose it’s place as an artwork and become utilitarian? What is the value in machines being able to appreciate art? Is it an attempt to make them understand the human experience? Why would they need to do that?
There are also some questions for me around the use of laser cut and 3d printed materials to produce work that has meaning beyond being an aesthetically pleasing item. I love the aesthetics of her work, but being seduced by aesthetics is an easy trap to fall into. I feel like the use of these new technologies is a very tricky area thats more complicated than, say, the use of fabricated works by the Minimalist sculptors, because it’s such a seductive method that allows the maker to easily create things that would have previously required intensive labour. But like Adobe software doesn’t necessarily create good design, a method like laser cutting doesn’t necessity make good art and, as artists, we need to be careful of being seduced by new technological methods unless our work specifically requires use of those methods. It seems to work for an object that can be appreciated my a machine to be machine-made, but what if it was handmade? What would that mean?
From left to right: Ashley Zelinskie, “Octahedron” (2014); “Dodecahedron” (2015); “Icosahedron” (2015), all 3-D printed nylon, various sizes
Golden Ratio 2013, 6.5″ x 4″ x 1″ 3d printed gold plated stainless steel
Ashley Zelinskie, “US Hexahedron” (2013), laser-cut aluminum, 5’x 5’ x 5’