Aesthetics of Speed
Spatial Art · 2005
- ArtistDavid Spriggs
- Year2005
- Dimensions117 × 76 × 40 cm
46 × 30 × 16 in - MaterialsBlack ink, transparent film, display case, springs, eyelets
- Layers24
“Time is visible change.”
In Aesthetics of Speed, contour lines trace the boundaries of a form through space. Successive profiles overlap and diverge, giving movement a spatial presence. Together, they suggest a cartography of time: each contour marks a position, while the whole holds several moments at once. The work is accompanied by Spriggs’ Manifesto of Virtual Space, written in 2005.
Aesthetics of Speed: Manifesto of Virtual Space
New aesthetics of speed are required! Rethink notions of space/time to achieve these aesthetics. Create new aesthetics that see the speed and the dynamism of our contemporary world. To find new aesthetics of speed, the virtual must be used and created to permit space to become a pliable concept. Search for a virtual space, one that may not function as real space. Assume an omniscient perspective for understanding space. Fashion space to your own liking; liberate it to create virtual spaces in which forms can exist in incorporeal and amorphous states with no boundaries or laws. Disrupt space, contradict it, turn it inside out, change it. Do not obey any rules or laws of Euclidean space. Aesthetics of speed shall represent the ever-changing present in transparent awareness. Space and time are part of the same thing. Time is visible change. Do not believe in a future or a past, only a present in constant change. Aesthetics of speed requires breaking free from the laws that constrict two or three-dimensional art materials. Presuppose no laws and use any means to achieve a new virtual space. Do not obey any rules or laws of Euclidean space. Do not become trapped in a programmed digital world. Challenge the flatness of the screen or monitor, the flatness of the image, the photograph, the painting, the three-dimensional limitations of traditional sculpture. Bring together any technique of art making to help achieve liberation of space. Find in it possibilities for a sculpture of the incorporeal, a place for the representation of the immaterial and of change. It will be with this new virtual space that new aesthetics of speed can take place.
David Spriggs, 2005