Float

Miniature Float with White Suiter Volunteer, 3D-printed model of parade float, 1 5⁄8 x 1 1⁄8 x 2 1⁄4 inches. Photo: Jenna Przybylowski

Reference texts: Electric Animal: Toward a Rhetoric of Wildlife, Akira Mizuta Lippit (2000); Why Look at Animals?, John Berger (2009, originally published in About Looking in 1980); “From Extinction to Electronics: Dead Frogs, Live Dinosaurs, and Electric Sheep”, Ursula K. Heise, published in Zoontologies: The Question of the Animal, Ed. Cary Wolfe (2003); Do Androids Dream of Electric Sheep?, Phillip K. Dick, (2008, originally published in 1968). Photo: Jenna Przybylowski

2015

Technology's relationship to the loss of animal life is debatable, alternatively representing either the cause or the potential solution. Float uses the story of drowning domestic sheep and a fictional future Rose parade to engage with a series of texts on technology and extinction. Download the full exhibition catalogue here, with essay by Ron Broglio.

Digitally modeled, CNC-carved Styrofoam, artificial flowers (carnations, roses, baby’s breath, zinnias, buttercups, hydrangeas, greenery, and rose petals), 12 x 6 x 9 feet; Stop-motion animation, 3.22 min; 3D-printed model of parade float, copies of research texts that informed the project

Installation of "Float: New Work by Maria Lux" at the University Galleries, William Paterson University, Wayne, New Jersey, Spring 2015

“Coverage of the 2068 Rose Parade,” stop-motion animation of 3D-printed model, 3 minutes 22 seconds

Stop-motion photography: Will Arnold; Voice actors: David Cox and Kristi Cox

Screen captures of "Coverage of the 2068 Rose Parade," stop-motion animation of 3D-printed model, 3:22 minutes, Stop-motion photography: Will Arnold; Voice actors: David Cox and Kristi Cox

MARIA LUX

Float