Named after Umberto Boccioni’s bronze Futurist sculpture of a human-like figure radically transformed through motion, Unique Forms of Continuity in Space demonstrates 3D printing giving way to new explorations of aesthetics and form. While speed and movement were key themes in Boccioni’s twentieth-century work, in this exhibition, digital salvage, fractal geometries, and modular configurations represent contemporary processes for artistic inspiration and formation. These processes, rigorous in their internal logics of construction, negotiate a new relationship between the artist, digital production methods, and 3D printing. Can 3D printing develop it’s own sense of aesthetics and unique physical outputs? In the digital age, what is considered a contemporary process for form making? Unique Forms investigates the roles of culture, form, and material in the production of 3D printed art.

Curated by Duncan Sabiston, Cira Nickel & Tom Bessai of Ryerson’s Design Fabrication Zone and exhibited at the bluffs in Ryerson’s Launch Zone.

Exhibited projects include Digital Junkyard by Car Martin, Recursive Assemblies by Aaron Hendershott, and Autonomous Assemblies by Jessica Lee.

Digital Junkyard, Car Martin
An experiment in virtual salvage, Digital Junkyard is a repository of donated digital information that is used to generate real physical and spatial objects.

Recursive Assemblies, Aaron Hendershott
A series of 3D fractal prototypes that feature fractal geometries, complex surfaces and emergent physical properties.

Autonomous Assemblies, Jessica Lee
An exploration of autogenic processes to form new interior volumes, Autonomous
Assemblies 
investigates emerging techniques and computational methods for self-assembling structures.