Since Each of Us Was Several (I)
Since Each of Us Was Several (I)
Since Each of Us Was Several (I)
Since Each of Us Was Several (I)

Connor McNicholas

Since Each of Us Was Several (I), 2022147 x 34 x 18cm7200 EUR
Details
MaterialGalleryLocation
pvc plastic model of vertebral column and pelvis, hd video with sound, artificial monstera leaf, ipad, ipad case, lemon, electricity, hardwareSuper DakotaBrussels
Description
Human-crafted. AI-refined.

The artwork features a minimalistic, geometric composition with a striking contrast between the simple shapes and the organic elements. The prominent colors are neutral tones of white and gray, with the occasional pops of green from the monstera leaves. The overall aesthetic suggests a meticulous attention to balance and symmetry, with the vertical structures serving as a counterpoint to the horizontal planes. The use of digital screens as part of the sculptural elements introduces a technological element, hinting at the artist's exploration of the relationship between nature and modernity. This visually engaging work likely aims to provoke contemplation on the intersection of the natural and the artificial. ...

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Phase Transition
Artist
Connor McNicholas
1990 , American

Connor McNicholas combines disparate objects and materials from varying times, cultures, and contexts into sculptural assemblages that present non-hierarchical ways of perceiving reality. In their approach, they articulate both poetic variations and diversity while dissolving boundaries between binaries such as past and future, natural and synthetic, and model and reality. McNicholas constructs models of speculative environments by crystallising new properties formed through the synthesis of natural and synthetic materials into a flux of hyper-objects. Their use of diverse materials both found and constructed, juxtapose historical art-making practices (ceramics, bronze casts) modern technologies (3D printing, electronic audio equipment) and organic matter (driftwood, plants) to create an abstract framework inviting the viewer to interconnect with a complex mixture of geological, biological, technological, and social constructions alluding to both where we come from and where we are going. ...

Connor McNicholas: Artworks
The Distance Earth Keeps
Connor McNicholasThe Distance Earth Keeps, 2020Price on Request
Where Remote Futures Meet Remote Pasts
Connor McNicholasWhere Remote Futures Meet Remote Pasts, 2019Price on Request
Since Each of Us Was Several (I)
Connor McNicholasSince Each of Us Was Several (I), 20227200 EUR
Perfect Lovers
Connor McNicholasPerfect Lovers, 20195000 USD
Phase Transition
Connor McNicholasPhase Transition, 20196500 USD
Super Dakota
Gallery
Super Dakota
Brussels

Super Dakota is a contemporary art gallery founded in 2013 supporting both emerging international artists and established leading artists. The gallery presents multi-disciplinary works with an emphasis on new technologies. They collaborate with galleries and institutions around the world and are committed to developing the career of the artists they represent. Their practice, ethics and integrity are the very core of their project. The galleries program highlights contemporary issues embedded in the zeitgeist and their exhibitions explore cultural, political as well as social contents. Artists exhibited at Super Dakota include but not exclusively: Mark Leckey, Paul McCarthy, Elizabeth Peyton, Adam Pendleton, Jeremy Deller, Alberta Whittle, Wade Guyton, Alexandra Domanovic, Julia Wachtel, Metahaven, Tabor Robak, John Divola, Jan Groover, Math Bass, Lawrence Weiner, Jacob Kassay, Oliver Laric, Magali Reus, Lothar Hempel, Neïl Beloufa, Sin Wai Kin, Bruce Nauman, Sanam Khatibi, Yvonne Rainer, Fischli & Weiss, Raymond Pettibon, Christine Wang, Sarah Abu Abdallah, Fred Sandback, Slavs and Tatars. ...