In the same way that a map collapses several contrasting sets of data onto a single image, this sculptural intervention existed as just one of many already established systems of information. The clusters of buildings and matrix of roads that make up a town, the towering trunks and spread of roots in a forest, the activity of living organisms in the soil, the movement of a viewer around a cluster of sculptures– these are the overlaying platforms of connectivity and agency that constitute the physical world. Conceived as a means of reframing the activity of its site, Active Forms- Forest (Klein Blue) was initially constructed using 3D software and dropped into place. This virtual event provided the basis for the fabrication and installation of the work’s existence in real life.
Site: The Loft
“It is impossible to separate object from action, competence from performance or actors/actants from networks.” – Keller Easterling
Whether we are conscious of it or not, the qualities of objects have an impact on the way we interact with them. A wine glass is handled delicately, a sofa invites us to nestle into it and we approach a wet floor with a flat-footed gate. These objects of everyday experience become coded with activity. But how do we approach an engagement with an unfamiliar object? What does space tell us about the relationships and potentials of more ambiguous forms? Drawing on expanded theories of media and infrastructure, Active Forms- The Loft (Klein Blue) is a participatory investigation into the forces that exist between objects space and the viewer/user.
Tom Borgas works from a sculptural foundation across multiple platforms including gallery and project work, public sculpture, festival interventions and performance. Developed through an oscillation between digital and analogue processes his work is an investigation of the space between image and object, virtual and physical, maker and viewer.
Borgas lives and works in Adelaide.
Kyneton Contemporary Inc gratefully acknowledges the support of SA Arts for making this project possible.
We also acknowledge the generosity of Jackie Power in enabling this project to be presented; and the State Government of Victoria for their support with site.