Conrad Shawcross
Born 1977 London – lives and works in London
If Conrad Shawcross’ robotic sculptures were successful measures of the quantum theories they represent, then he would receive a Nobel Prize. But he did not study to be a scientist; Shawcross completed his BA in Fine Art at the Ruskin School of Drawing and Fine art at Oxford University (1999), and his MFA in the Slade School of Art at University College. Just as his works are interpretations of failed scientific ideas, his kinetic sculptures fail to model scientific truths. In their failure, Shawcross’ sculptures reveal what might be gained or lost in the process of rationalizing complex microcosms around us through metaphor. For instance, the original Platonic solid – the Atom – symbolized by the tetrahedron, was considered to be the smallest indivisible unit. Inspired by this mistaken hypothesis, Shawcross produced a series of tessellating, totemic metal maquettes titled Paradigm (a typical example or model) composed of the prismatic tetrahedron form. Shown summer 2015 at the Victoria Miro Gallery in London by whom he is represented, the maquettes stress Shawcross’ concern for the static aesthetic of his mobile computer programmed sculptures. He claims that in operation his choreographed, cyclical light computer programs such as Timepiece designed for Camden’s Roundhouse leaves less to the imagination. Nonetheless, Shawcross’ musical collaborations yield harmonic results orchestrated by the computer-programmed motion of three light bulbs atop three robotic appendages in The ADA Project. Titled after Ada Lovelace, credited as being the first computer programmer, the luminous robotic arms have performed at the Palais de Tokyo in Paris, MONA in Tasmania and with The Vinyl Factory in collaboration with musicians. Instead of a Nobel Prize in science, Shawcross earned the title of youngest living member of the Royal Academy of arts for expressing how failed or outdated scientific theory has lasting cultural effect.
Born 1977 London – lives and works in London
If Conrad Shawcross’ robotic sculptures were successful measures of the quantum theories they represent, then he would receive a Nobel Prize. But he did not study to be a scientist; Shawcross completed his BA in Fine Art at the Ruskin School of Drawing and Fine art at Oxford University (1999), and his MFA in the Slade School of Art at University College. Just as his works are interpretations of failed scientific ideas, his kinetic sculptures fail to model scientific truths. In their failure, Shawcross’ sculptures reveal what might be gained or lost in the process of rationalizing complex microcosms around us through metaphor. For instance, the original Platonic solid – the Atom – symbolized by the tetrahedron, was considered to be the smallest indivisible unit. Inspired by this mistaken hypothesis, Shawcross produced a series of tessellating, totemic metal maquettes titled Paradigm (a typical example or model) composed of the prismatic tetrahedron form. Shown summer 2015 at the Victoria Miro Gallery in London by whom he is represented, the maquettes stress Shawcross’ concern for the static aesthetic of his mobile computer programmed sculptures. He claims that in operation his choreographed, cyclical light computer programs such as Timepiece designed for Camden’s Roundhouse leaves less to the imagination. Nonetheless, Shawcross’ musical collaborations yield harmonic results orchestrated by the computer-programmed motion of three light bulbs atop three robotic appendages in The ADA Project. Titled after Ada Lovelace, credited as being the first computer programmer, the luminous robotic arms have performed at the Palais de Tokyo in Paris, MONA in Tasmania and with The Vinyl Factory in collaboration with musicians. Instead of a Nobel Prize in science, Shawcross earned the title of youngest living member of the Royal Academy of arts for expressing how failed or outdated scientific theory has lasting cultural effect.