As a culmination of natural order, technology exhibits the acme of evolution. It has long transcended primordial modes of passive adaptation and subsequently compelled us towards a mastery over evolution itself. My work is provoked by the perplexity we face: what does it mean for Nature to evolve to the point in which it can indefinitely control its own evolution? As we persist to close this loop, our technologic relationship to the remaining natural world accelerates into greater convolution. For example, the balance between biological design and "playing god" is a pending philosophic debate; the line will only continue fading into obscurity as we harness more powerful technologies. From its simplicity, Binarium enacts a platform to contemplate this complex relationship we continue to conduct between nature and our technology.
Mediating between phytomorphology (botanical form), human control, and delimitative glitch, each piece is manually composed. Over the course of a flatbed scan, I choreograph movements and intervals of rest with the collected specimen. As the scanner’s interface distinctly assembles time and energy into still image, this methodology enables me to sculpt digitally dependent forms from an analog input (no Photoshop). Doing so not only resolves to suspend each image between realistic fidelity and the abstracted performance, but it allows the forms to inhabit a fractural space between the physical and digital worlds. Recursively, these moments of breakdown expose the perplexing limitations of the scanner’s optical system. It is this spontaneous division from the physical world into the infinite that has enveloped my curiosity and vitalized the creation of Binarium.
"No Bryce, plants don't grow out of the ground; they grow into the air." - Dr. Rudolf Becking (Grandfather)
