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Shane Hope on Your Mom is Open Source

Shane Hope, cartoon_trace_atoms=1, 2009 Archival pigment print via

Shane Hope whose solo show, Your Mom is Open Source opened recently at Ed Winkleman, answered some questions via email about his work -

ArtCat: One thing that immediately jumps out to me about your work is its relationship to multiple regimes or paradigms of representation: linguistic and visual at bottom, conceptual, scientific, and mathematical in effect or by invocation. Can you talk about what takes place in the movement between these fields? To what extent does your practice, considered in sum, rehearse the sort of being-across-substrates detailed in the concept of transhumanism?

Shane Hope: My Mol Mods are plans for playground ball pits of pure operationality, all about ackles as atomic access-privs pictures, looking like line-art after lines of code, solving for sundry imaging inversions and a new fantastical-fodder faux naïve. The modeling files I design or manipulate to build drawings anticipate their own actualization via nanofacture, for the files are also plans for later manifestation of material objects. Precision placement of atoms is poised to become the new pen, so I participate in picturing projected possible puny places for us people. I've conscientiously chosen to work in customized versions of user-sponsored open-source molecular visualization systems as necessitated by way of analogy: we are artificially selecting for the hardware environments upon which we ourselves will run. My hand-drawn lines become vectors become atomic coordinates become novel carbon-based building blocks bootstrapping the next layer of life.

Shane Hope, Junk DNA Sculptural Ontogenesis, 2009 Archival pigment print

ArtCat: There is a fascinating tension at work between your choice of media and the vocabulary deployed around it. To what extent do you consider your work figurative? Abstract? What is the relationship between the sort of progressive futurism of your keywords and the somewhat traditional method employed in rendering them - insofar as you are working in drawing and not in installation or some other baroque proclivity?

Shane Hope: I draft dot-to-dot descriptions with lines (of code) like runaway run-on sentences that will write the rest. The model is the message after all, and when infoviz meets infomorphs, images become recursively self-improving infovors. We are our own maps exceeding ourselves... I tangle lines and lines of code in esoteric yet key software platforms to better delineate operative scale-subjective distinctions between organic / inorganic and building / growing. Nanofacture will problematize fetishization of assemblage and collage. Making molecularly modeled hence particle-punny geeky-goofy drawings of sorts simply seems to me a more viable self-reflexive way to picture possible far-futures. First of all, the future is all of the above