Carla Gannis and Everett Kane, "Escape Pod" (2014) (all images courtesy Carla Gannis)

Carla Gannis and Everett Kane, “Escape Pod” (2014) (all images courtesy Carla Gannis)

Editor’s note: This is the fourth piece in a series of articles, images, interviews, and essays for the #hypersalon catalogue. The online publication accompanies Hypersalon, a weeklong series (December 2–7, 2014) of salon-style exhibitions, artist talks, and conversations on the conditions of networked culture in contemporary art.

Everett Kane and I got inspired to revisit the “Tree-Man” in the “Hell” panel of Hieronymus Bosch’s “Garden of Earthly Delights,” which some people claim is a self-portrait. We worked in ZBrush, Maya, and with a Dimension 3D Printer to produce this small sculpture. My nicknames for it are “bio-tech, post-human, networked escape pod” or “portable-apocalyptic-living-bordello-unit.”

Carla Gannis and Everett Kane, “Escape Pod” (2014)

Carla Gannis and Everett Kane, “Escape Pod” (2014)

Still from Carla Gannis, “Hell – Eden – Earth” (2014)

Still from Carla Gannis, “Eden 02” (2014)

Still from Carla Gannis, “When Hell Freezes Over” (2014)

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