“Technological Mandala 201 – Circus Circus Circus!” (2023), electronic components, copper wires, varnish, enamel paint, 3D printed elements, lead, gesso, acrylic paint, epoxy resin, sand, gold leaf, speaker, stone, and MDF, 100 x 100 x 4.5 centimeters. All images © Leonardo Ulian, shared with permission
During the past several decades, digital technology has impacted—and in many cases completely transformed—just about everything. From medicine to sports to the supply chain, myriad facets of our lives are organized and determined by computers. For London-based artist Leonardo Ulian (previously), the networks and connections of today’s technologies provide an unending well of inspiration.
In a number of ongoing series like Technological Mandalas, Techno Atlas, or Contrived Objects, Ulian draws on varying themes like the body, global maps, and analog objects to create a dialogue between electronic systems, philosophy, and the human condition.
The Technological Mandala series, for example, came into being a little more than a decade ago when Ulian was going through a personal crisis and sought a sense of purpose in his life and artistic practice. His research and experiments at the time opened a trove of ideas that he continues to tap into. “After 10 years,” he says, “I am still captivated by the discoveries this body of work is helping me make, both in terms of novel concepts and, I would say, philosophical thoughts.”
Find more on Ulian’s website and Instagram.
Detail of “Contrived Object 31 – Mr Maxply” (2021), electronic components, varnish, copper wires, and tennis racket, 71.2 × 19.7 × 12 centimeters
“Technological Mandala 143 – Flowing Vitae” (2019), electronic components, copper wires, varnish, lead, paper, acrylic paint, mechanical parts, and MDF, 228.6 x 101.6 x 5.5 centimeters
“Techno Atlas 014 – Windmill of Drops” (2021), electronic components, microchip, speakers, copper wires, lead, 3D printed elements, varnish, paper, and wood, 84 x 84 x 4.5 centimeters
Left: “Physiognomy 05 – Novus Homo” (2023), electronic components, copper wires, varnish, lead, acrylic paint, sand, MDF, wood, gold perspex glass, and red perspex, 114 x 72 x 4 centimeters. Right: “Contrived Object 31 – Mr Maxply” (2021)
“Techno Atlas 013 – Rebirthing State” (2021), electronic components, microchip, speakers, copper wires, lead, 3D printed elements, varnish, paper, and wood, 84 x 84 x 4.5 centimeters
“Contrived Object 33 – Mr Zaman” (2021), electronic components, solder, varnish, copper wires, tennis racket, gold perspex mirror, chain, and lead, 71.5 × 19 × 12 centimeters
“Technological Mandala 159 – Ego Novi” (2022), electronic components, copper wires, copper foil, lead, solder, acrylic perspex mirror, colored perspex, enamel paint, varnish, and screws, 210 x 210 centimeters. Photo courtesy of THE FLAT – Massimo Carasi Art Gallery
“Technological Mandala 164 – Continuous Orbit” (2022), electronic components, microchip, speaker, copper wire, and wood frame, 84 x 84 x 4.5 centimeters
Detail of “Technological Mandala 164 – Continuous Orbit” (2022)
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article In Leonardo Ulian’s Techno Assemblages, Electrical Wire and Found Objects Form Precise Geometric Systems appeared first on Colossal.
