Articles

Carla Gannis and Hieronymus Bosch’s “Garden of Earthly Delights”

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)
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, “Hell – Eden – Earth” (2014)
Still from Carla Gannis, "Eden 02" (2014)
Still from Carla Gannis, “Eden 02” (2014)
Still from Carla Gannis, "When Hell Freezes Over" (2014)
Still from Carla Gannis, “When Hell Freezes Over” (2014)
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