bennettmorris

natures inevitable redemption

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Natures Inevitable Redemption (Eternal Vision - Drone 1001)

Mixed media with 3d printing, 11in x 11in x 8in, 2024 (detail view)

I’ve never worked on a single piece for as long as I did on this one. When I started it in 2022 I had a crystal clear vision in my mind as to what I was making and how the final piece would look. Much to my surprise the more I worked, the more specific and articulate I got with materials the further I got from seeing the final piece come together. Each new detail set higher expectations for the next. The piece was certainly growing and evolving based on what it needed to become through my intuitions. However, once I started on the foliage, it was immediately evident to me that the end was near. My vision of a landscape that was truly overgrown and reclaimed by nature was finally coming together.

This piece depicts a moment in the Eternal Vision story in the far future. It speaks to the idea that all technology eventually becomes obsolete. The notion that nature will eventually prevail and reclaim all it once had. That decay and decomposition will always be beautiful. Nothing is free from the feedback loop of destruction and regrowth, not even technology.

Check back soon for a full gallery of images of the piece and a more elaborate explanation.

eternal vision drone 1002

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Eternal Vision Drone 1002 poster

Somewhere in a distant future, an omnipresent deterrence system reaches beyond the horizon. What was once sold on the utopian ideal of endless peace and security through total surveillance evolved into a system of total control. The presence of continuous observation forced whoever was left deep into hiding sometime long ago. Echoes of the present begin to emerge from the fragments.


anti-detection / anti-interception

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It’s not very hard to imagine a future where AI and autonomous systems form a global surveillance system with the ability to see and act everywhere simultaneously. Drone swarms navigating at multiple levels of the atmosphere all around the world. We have always had an obsession with the idea of autonomous technology taking over, more specifically even the idea of killer robots. I do believe that we are on a technological trajectory that could lead to some of these imagined futures where we are all ruled by machines. Take a look at this New York Times article on the current state of this kind of technology. Right now there are still humans in the loop, but once we are taken out, things will evolve quickly. Who knows what the future will hold.

Global Deterrence Systems

progress in the studio

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Self-directed research and learning is not always as fruitful as I anticipate. So far with this project things are far exceeding my expectations. With the amount of information, examples and tutorials online, I am happily finding the answers I need to feel like I can experiment freely. I still do not know exactly where this work will lead, but the possibilities become more clear each day. I hope to include sound and movement in this work as well. I believe that will allow me to create the kind of immersive experiences I am hoping to create. As this work in the studio progresses, the stories from these places also become more clear to me. I am looking forward to using these tools to share some of the moments I’ve imagined and to answer some basic questions. What has happened in these places since our time? How could surveillance, ai and autonomous drones reshape the landscapes of the future? What can be learned from the romanticisation of these ideas?

drone 1001a 3d rendering 2023

DISTANCE Works on Paper by Skowhegan Alumni includes two machine drawings

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D O R S K Y G A L L E R Y Curatorial Programs is pleased to announce

Distance, curated by Betsy Alwin and Steve Locke

Opening on Sunday, February 17, 2019 from 2:00-5:00 p.m. and remaining on view through April 7, 2019.

Curators Steve Locke and Betsy Alwin organized their exhibition around the concept of distance in dialogue with divisions in the contemporary moment. Solmaz Sharif’s poem “LOOK,” which explores consequences that result from perceptions of difference and distance, served as inspiration for both the curators and the artwork in the show. This led to a very specific conception of social, political and tactile distance, represented by 57 artists from 18 states, 9 countries and a 60 year span of Skowhegan alumni: Kim Abraham, Alejandro Acierto, Lauren Adams, Negar Ahkami, Colleen Asper, Rebecca Baldwin, Keren Benbenisty, Caitlin Berrigan, Suzanne Broughel, Derrick Buisch, Neil Callander, Greg Chann, Sue Collier, Oliver Comerford, Karishma D’Souza, Anthony Craig Drennen, Jesse England, Nicholas Fraser, Baris Gokturk, Rachel Granofsky, Mark Haddon, Russell Hamilton, Katie Herzog, Carol Blaser, Saskia Jorda, Courtney Jordan, Nils Karsten, Becky Kinder, Baxter Koziol, Shaun Leonardo, Anthony Lepore, Cyriaco Lopes, Colin McMullan DBA Emcee C.M., Master of None, Nat Meade, Alex Morris, Helina Metaferia, Nyeema Morgan, Bennett Morris, Ester Partegás, Carol Pepper-Cooper, Bundith Phunsombatlert, Marilyn Propp, Hanneline Røgeberg, Sherrill Roland, Michelle Rosenberg, Annesofie Sandal, Amanda Schoppel, Austin Shull, Molly Springfield, Draga Šušanj, Elizabeth Tubergen, Traci Tullius, Tabitha Vevers, Robert Wechsler, Yoav Weinfeld, and Jane Westrick.

Missile Defenses, Landscape 010

Missile Defenses, Landscape 010

Missile Defenses, Landscape 019

Missile Defenses, Landscape 019

Thanks

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Thanks to everyone who came out to the opening of Machine Vision at The Press Hotel. It was a wonderful crowd filled with friends from all over. I’m especially grateful to have the opportunity to show so many of the drawings in one place. The full breadth of the series is visible with so many of them together. Extra thanks to the staff at the hotel for all of the work they put in to make the opening so special. 

Missile Defenses, Landscape 01x

Missile Defenses, Landscape 01x

New ideas take hold as the old ones try to hang on...

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As each new piece is finished it is hard to not ask myself what is next. For me it’s a natural tendency to want to start or resolve something new. One of the things I do to counter that is to look closely at what I have made for potentially previously unseen variations or experiments within the parameters of the process. Currently I’m continuing the Machine Drawings series, while starting to experiment with some new ideas. The focus of the current drawings is to amplify and expand on some of the nuances or unique qualities of the previous drawings from the series. I’m specifically working with a more narrow color palette to a few quieter landscapes that have more atmosphere. Simultaneously I’m experimenting with translating the drawings into dimensional objects. I’ve started by using the laser cutter to cut out and etch lines into the layers of the drawings. I will be using colored acrylic plastics with varying densities or etched lines on them. It is critical that these pieces take on not just the photographic qualities of the drawings, but also some of the interactions between line and shape. I’m not exactly sure where this will lead or what the final piece(s) will be. Possibly some kind of shadow box, infinity space or illuminated diorama…

Studio sketches

Studio sketches

Drawing Machine

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This clip shows one of the large machine drawings in progress. For this drawing I’m using the full size CNC to make a drawing that is 39 x 50 inches. Moving up to this scale from the smaller CNC has revealed some unique phenomenon. Not only does it take considerably longer to finish, upwards of 150-200 hrs, but there are also many unique marks that are only revealed at this scale. The resulting drawing, because of it’s large scale, becomes more immersive to the viewer. It also reads well from further away and makes more use of the perceived colors created by the overlapping horizontal lines. Stop by The Press Hotel to see this drawing and more in the real. @thepresshotel #machinevision

MACHINE VISION

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As technologies escalate and expand surveillance capabilities they dictate how we perceive and act simultaneously. We are witnessing the creation of a post-human vision that incorporates both the visible and invisible spectrums. This interminable vision has given us a false sense of control and institutes a union of the real and the virtual. Our current state of anxiety, insecurity and unease propels us to amplify our pursuit of more expansive autonomous systems that act on the immediacy of both actual and manufactured data. The reality of horror is deferred through the sterile views produced by this technology. Acting as global deterrents, these systems perpetuate an endless feedback loop suggesting the eventual breakdown of control, and ultimately, the decay of information itself.

These drawings are the culmination of a multidisciplinary process and a complex translation of my ideas. I’m using a CNC router as a drawing machine to create  images that blur the boundaries between contemporary technologies, photography and the traditions of drawing. Made entirely out of horizontal lines these intricate landscapes appear digitized and contain glitches and artifacts of the process which clearly reference interlaced video and the aesthetic of surveillance. Revealed within these ruinous worlds are the technologies of surveillance and communications juxtaposed with the weapons and systems related to global conflicts past and present. This visual combination speaks to the tensions between what we find beautiful and what terrifies us.


Missile Defenses, Landscape 013

Missile Defenses, Landscape 013