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Balint Bolygo

Balint Bolygo

Balint Bolygo investigates the relationship between the machine, the human, and natural forces, analysing how an underlying scientific structure and process can change or shape an object. His innovative creations play with movement, space and light, and create their own environments where events unfold in front of the viewer. His devices often explore the passing of time, and they record traces of particular events through the build-up of complex patterns, highlighting the connection between space, matter and time.

Pulsar 2008 (steel, motor, plywood, mirrors, laser diode), 300x300x.40cm

Pulsar uses a combination of rotating and fixed mirrors and a strong laser source to achieve a total internal reflection on a cocave circular mirror. Due to the laws of optical reflection of light, the resulting image resembles a star. Because the angle of reflection is changed all the time due to a moving mirror, the star formations appear to pulsate and change their geometrical pattern. The title ӰulsarӠrefers to very dense neutron stars that emmit radiovawes which reach earth in a so called 'lighthouse' effect, or pulses, whereby the star appears to pulsate extremely accurately.

Trace (self portrait) 2008  - (Wood, steel, brass, plaster, mechanical components, motor, pen)

Trace is a sculptural device that alludes to scientific discoveries and pseudoscientific concepts such as phrenology, physiognomy, and craniometry. A revolving plaster cast of the artistԳ head is slowly deconstructed into a mathematical diagram that changes as time passes. The peculiarities of the human face that as humans, we attach so much importance to, is dematerialised into a changing drawing that embodies the differential undulations of the human anatomy. 'Trace' questions our notion of self and how through technology we have found different visual representations for the individual. DNA profiling, retina scans and the fingerprint are all things that are conjured up by the meticulous mechanical process of the work. The topographical images are turned into a new form of three-dimensional representation that draws our attention to the ӳpace withinӬ and questions our notions of the nature of portraiture.   The sculptor's modelling easel, his tools, pen and paper are all brought to life where the studio activity carries on in the absence of the artist.  Reminiscent of the nineteenth centuryԳ obsession with the dark potential of science, and its god-usurping powers, the work is once mesmerising and menacing.