‘BIOMECH CHANGED MY LIFE’
Thursday 10th February
6 – 9pm
Friday 11th Feb – Saturday 19th Feb
12 – 6PM
In this expansive exhibition DANIEL DAVID FREEMAN magnifies his approach to collage
and embellishment through studious exploration into the prophetic…
Thursday 10th February
Friday 11th February – Saturday 19th February
In this expansive exhibition Daniel David Freeman magnifies his approach to collage and embellishment through studious exploration into the prophetic world of Biomech.
“Biomechanical art (also called Biomech) is a surrealistic style of art that combines elements of machines with organics. Rendered with distinct realism, biomechanical art expresses an internal fantasy world, most typically represented with human or animal anatomy where bones and joints are replaced with metal pistons and gears, but infused with muscles and tendons. Biomechanical art was popularized in 1979 when Swiss artist H.R. Giger designed the alien creatures in the 1979 feature film Alien.”
In addition Giger’s colossal influence on the world of tattooing sparked a unique genre of the same name considered classic in it’s own right that follows the same strict aesthetic codes. Nowadays the majority of online biomechanical art resides on fantasy and sci-fi community website Deviantart; arguably the largest hub for self taught artists on the internet. These two facts perfectly pointing to Biomech being the perfect digital folk and outsider art of our technological times.
Having always been more influenced by image making outside of the gallery yet always looking for a way in – the illustrative worlds of biomech offered DDF the perfect transcendence. By employing this overlooked yet ever present genre Freeman has championed his passion for sci-fi through a neo-futurist painting practice. Hence the title “BIOMECH CHANGED MY LIFE”
DDF’s work endeavours to use collage as an overall practice as opposed to a singular mark making process. By carefully curating and adapting objects and imagery he hypothetically and idealistically collaborates with their eclectic creators. By embellishing carefully sourced materials the work confidently questions creative ownership in a time where the found has become so universal. Does the bulk of the appeal lie within the familiar objects inside the graphics or the artist’s unique selection of them?
DDF’s bold, part Cronenberg, part Giger, part William Gibson inspired graphics appear on numerous collections of printed matter and garments as various mutations of a singular image across dimensions. By stretching both the aesthetic and connotation of an illustration he has experimented with both the organic and technological humanoid form across conceptual collage and print-making. Also heavily influenced by the futurist sculptures of Boccioni his abstractions challenge the viewer in identifying the human vs robotic.
Although DDF’s DIY approach to the artworld is steeped in nostalgic traditions of hardcore punk his imagination is always on the future. Therefore the other exciting focus of the show is how 2d illustration can creatively infiltrate the endless capacity of contemporary digital art. The recent catapulting of online exhibitions to the mainstream makes this the perfect time to experiment in real life vs digital life. Arguably physical exhibitions are experienced more through smartphone imagery than through attendance. So if so much of our experience of art is virtual why not make the environments themselves more creative? By illustrating the work of digital creatives DDF has been able to stamp his claim on new 3d worlds. By employing designers who have worked on anything from visuals for the prometheus movie all the way to digital clothing his imagery can reach a new fascinating and future focused potential.