Kabinet Materia is a body of work that explores synthesized realities.  Looking towards the late stages of Westernism, as it's colonization finally circumscribes the globe; a wave perhaps cresting in California; acid is eaten,  Silicon Valley is born, The Gold Rush being a metaphor for all subsequent rushes.  In the Ouroborus of Hyperwesternism; The American standing on the shores facing West asks the Chinese industrial core to be a mirror for it's age-old motifs.  To give George Washington a tribal tattoo is the sloppy mash of cultures; the Chinese industrial core sends these visions back on freighters; often ingested as Google image search, interpreted by an industrial designer, then sent to the manufacturing floor for plastic injection molding.  An arms length virtualization that ends up resembling Second Life, the online role playing game where amateurs are invited to reconstruct the world as we know it, then revel in this poor copy.  Kabinet Materia explores the incidental aesthetics of this process.

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The image above is a Coat of Arms.  It depicts a catalogue of fantasy swords floating in a room made of canned goods and boxes of pasta.  These are 'found' internet objects compiled digitally then carved into wood.  You can only imagine that the User who virtually stacked these cans worked at a grociery store.  Perhaps this was their grand scheme, the canon of grocery store food presentations.  The swords represent an even cross section, depicting every available sword that can be found in Google's 3d Warehouse.

The Kabinet Materia installation is a 3d printed room.  Iconic western motifs were carved from vectors into glossy black walls.  Most the works displayed on this surface are wooden relief carvings.  The image to the right depicts an arena for esoteric games.  Checkers game pieces rest in the apses of a coliseum.  The Users arrive by gold canoe and some how play this.  The checkers squares recede into a black hole at the center of the board.

A kinetic hypnogogic wheel is placed prominently in the room.  Suggesting that humans without culture tend towards op art; the pure phenomenology of titillated senses.  The kings of antiquity adorn their courts in checkered floors.  Art having served as a proof of power even before image replication technology inundated our senses.  The agrarian peasant might only see it once, or speak of it in folk-lore thru the stratifications of medieval society.  What the king's court looks like; or where the human mind drifts without the pretense of limitation.

The object to the left is a 30"x 50" 3d print of mirrors falling into the sea.  A physics simulation was applied to the mirrors in a virtual environment.  A scene was captured during their decent, then rendered as a tactile object.

Below, you can see a variation of the sequence before the final output, still in digital space.

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During a 4:20 celebration on April 20th 2015 a cake was frosted using 3d printing technology.  The image came from a story about 4:20 in Denver.  A public park was filled with weed smoke as a goth gurl in large flowing black pants covered in metal rings made a slow procession thru the crowds.  The spring wind animated the black flag she was carrying with the words "Remember Columbine".  In the cake there are 13 tears to represent each of the fallen.


The image above is an anagram reading 'A CARYATIDE'S TORCH'.  The caryatide is a sculpture of a woman used as a load bearing column in Greco-Roman architecture.  If the caryatide reached for her torch the building would crumble.

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