Artifact of the Grip No. 3 (Painted Flesh)Series: THE EPISTEMIC GRIPMaterial: PLA (plastic), acrylic paint, wood, glass, paper, cord, metal... Read More
Artifact of the Grip No. 3 (Painted Flesh)
Series: THE EPISTEMIC GRIP
Material: PLA (plastic), acrylic paint, wood, glass, paper, cord, metal (blunt saw & knife)
Technique: Morphological stratigraphy and high-viscosity impasto acrylic painting—executed using syringes (nozzle-extrusion), palette knives, brushes, and raw finger-manipulation—on a post-digital PLA substrate (3D-printed forearm/hand relief). Suspended via an industrial steel meat hook.
Dimensions: 12 × 65 × 9 cm
Year: 2026
Lim.: 3 (1 AP)
Abstract
In this dedicated painting edition, the traditional two-dimensional canvas is dismantled and replaced by a post-digital, three-dimensional body. A hyper-precise 3D print of a human forearm serves as the physical picture carrier, exposing raw anatomical layers of deep muscle fibers and intricate tendons. Suspended freely in space by a heavy industrial steel meat hook, the work enters a direct dialogue with the historical tradition of Fassen (the polychrome painting of sculptures). Here, high-viscosity impasto paint is not merely applied to a surface, but is physically sculpted using syringes, palette knives, and fingers to become inherently bound to the topography of the form.
Deep Dive: Conceptual Insight
The sculpture establishes a tight, dialectical feedback loop between digital perfection and analog material resistance. By hanging freely, the painted body reacts to the micro-currents of air in the room; as it sways, ambient light continuously fractures across the thick, volumetric ridges of the paint. This kinetic movement creates a shifting play of light and shadow that echoes the visceral grandeur of classical realist masterpieces, such as Rembrandt’s The Slaughtered Ox. By fusing masterfully executed acrylic textures with a radical re-interpretation of the canvas, the piece reclaims the physical presence of the human mark over the sterile algorithm, positioning haptic painting as an active epistemological tool in a virtual age.
For more information please visit: mariotischhauser.com
