The work “bit; death; life; he blows on them and they wither” utilizes the exact measurements of the maker's body and extends from those points to find a simplified geometric form. I am interested in activating the objects that directly relate to the end of life. While the structure acts as a form of transportation and brings into being a complex conversation about spirit and life, the body gets suspended within the marrow of the cross. 

        My shoulders and hips determine both width and depth of the extruded form as the lengths get determined by my head, feet and hands.  For the interior of the work ,  each length corresponding with the arms and the legs determine the position of each steel plate. These plates fit tight to my digitally scanned body proportions. My body fits perfectly within the sliced interior at three inch intervals. 

        Access is through the three top bisected structures that get bolted into place tightly affixing my body suspended within the geometry;  a center section that runs from my feet to my head and two arm sections. 

        The angle of the body within the  exterior form hints at both a reverse Trendelenburg position, as well as alluding to both ascension and descension; capturing the work in a dynamic transition. My arms are at ninety degrees of each other and 45 degrees of the core, my hands are face up. Body positioning carries communication thoughts about acceptance , vulnerability,  sacrifice, enlightenment, love and fear. 

        Connected to this idea of body encasement and cloaking I also choose to reference the digital gaming figure Steve in the game Minecraft. This  more complex and farfetched reference to the sandbox game development of the digital avatar hints at the embodiment of the maker in geometric form. The exterior becomes minimal, essential and specific to the basic building blocks of architecture on earth as well as the efficient form of compression for fast generative reference to digital creation. 

        Da Vinci referenced with” Vitruvian man” that math related to the perfect body. Tony Smith references the void of the body with “die” as a tomb. Gego found form through the minimal drawing element “the line” by simultaneously creating interior and exterior structure. With this work,  I am actively asking questions around the idea of life beyond death or a spiritual beginning and to think about this world by what we understand. I choose to pair it down to basic building block principles and methods used here and today with the intent to be additive and to create.  The connection to digital technologies both in the scanning of my body to generate a proxy and the use of CNC machines to cut out steel shapes for assemblage of this object, draw a connection to the digital realm and fast acceptance of “other” within our lives.  

        In the end this is a resting place for my corpse.