Selin Balci – Interact and Transform
Ryan Hoover – Sculpting with Satellites
December 10, 2011 – January 21, 2012

Hamiltonian Gallery is pleased to announce two concurrent solo exhibitions by Hamiltonian Fellows, Selin Balci and Ryan Hoover. Although Balci and Hoover implement distinct artistic practices, both artists present new works of precisely controlled media, imbued with their ruminations on the structures of interpersonal relationships, international affairs, and geography.


SELIN BALCI – Interact and Transform

Selin Balci applies an acute scientific laboratory practice to create her current body of works on paper and board. Balci researches simple microorganisms in the lab and records the manners in which they interact with one another, as well as the colors and aesthetics those interactions produce. Balci then creates an artificial living environment with limited space and nourishment in a Petri dish. Based on her research on colors and behavior, the organisms are selected and placed in the Petri dish.

The simple living organisms are forced to compete and to dominate a particular area. Eventually, the microorganisms live in harmony. Balci then literally transfers the microorganisms to paper or clayboard where she makes aesthetic decisions about form and color. Selin Balci’s works are beautiful records of the battles and construction of borders, as well as the treaties between entities.

To Balci, these qualities, situations and conflicts echo the full scope of the human condition. In an artificially constructed living platform Balci is the impresario and her performers are hostile, yet fragile microorganisms.\

RYAN HOOVERSculpting with Satellites

In his new body of work, Sculpting with Satellites, Ryan Hoover explores multiple modes of space – from the lived space of the his neighborhood, to the abstracted spatial language of GPS, into the Cartesian space of 3D modeling software, and back out into compositional and physical space of drawing and sculpture.

The works in this exhibition include sculptures and drawings on Plexiglas that began as walks through the artist’s neighborhood, in which he tracked his travels via global positioning. The GPS data was processed through a computer script written by Hoover that plots this data into 3D modeling software, scaling the points within a Cartesian cube. This generates a path through space, where the width is modulated according to the speed at which Hoover was walking. Ryan Hoover then translated each digital model into a sculptural rendering by using a variety of computer-aided machining techniques.

Also included in this exhibition are sculptures that are selections from the paths, chosen as studies, and created as physical objects by milling and laminating. Hoover then continued to work with these pieces in a sculptural manner, employing an aesthetic sensibility that is also rooted in a non-linguistic understanding of space, material, and form. The result is a suite of smooth, white undulating shapes that twist and change direction. Hoover’s process ebbs and flows between manipulating his materials with his own hand, and manipulating the works through an intermediary tool to better understand space.

Increasingly, we are surrounded by objects that are digitally designed and created. Assisted by GPS, we travel down roads that were also plotted by GPS. Unmanned aircraft is the focus of Ryan Hoover’s initial interest for this project. Navigated by GPS, drones have become a powerful force in US foreign policy, and a growing factor in domestic life. By translating GPS data into a physical object, Hoover presents the data in a more comprehensible, sensorial space.