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3D Graphics – Illustration & Animation

Elli Kuruş

Within the artist collective Elli Kuruş, we survey the structure of the platonic bodies, their inherent historical notion and their media presentation. The platonic bodies embody an ideal of harmonic order and logic and are easy and popular to create in 3D programs. With the question of human imperfection in relation to geometric, algorithmic and mathematical perfection in mind we modeled the platonic bodies by hand without any facilities. Then we scanned the models with the 3D scanner and edited the data with Blender to set the digital hand-formed sculptures into new contexts. The 3D scans of hand-formed sculptures relate to the history of platonic bodies and transform their mathematical beauty, their claim to represent world through reduction and logic.

platonic bodies

virtual installation, 2015, Galerie ARTACKER, Berlin together with Elli Kuruş.


Model of Thomas Jefferson‘s mansion Monticello, created for the exhibition »Invisible Hand, The Great Book of…« by Elli Kuruş, at Galerija Miroslav Kraljević, Zagreb, Croatia 2016.

video loop

The exhibition shows a multimedia installation consisting of a serving cart, 2 dollar bill, plasticine, Californian red wine, Ethernet cables, cable pulleys, video, ink drawings on paper, frames, fake fingernails, plastiform, artist book. »Invisible Hand, The Great Book of…« unearths and exposes forgotten and forgettable images of labour through a series of digital excavations and transformations. Installation arrangements hint at the presence of algorithmic and mechanical machines distributing visibility through selective reproduction and explicit deletion. The exhibition thus points to the deleted ‘other’ of contemporary and historical practices of constructing the visible. Continuous re-accentuation of the Deleted produces the eerie effect of a mundane transgression, of witnessing the representation of the unrepresented. Suffused with speculation and commentary, technical drawings and architectural models invite viewers’ eyes to rest within the comforting space of invention, marked by oversight and omission. The 18th century plantation Monticello is resurrected within the digital realm, hinting at the dubious possibility of a historical continuity of a war on the perceptibility of labour. Digital network technology enters into a material communion with vintage service carts and financial signifiers. These juxtapositions of historical and digital materials seduce and irritate the beholder, until contemporary practices of seeing and unseeing emerge in their historical specificity. Under the newly sceptical gaze, existing visual regiments are destabilized, offering a glimpse at the possibility of alternative systems of distributing and reassembling the visible.

Artistic and conceptual research by 3D modelling:
During the process of creation and modelling we realized that also in today’s visual representation of Monticello, the architectural parts where slave labour took place are mostly neglected. So we decided to show the model of the whole Monticello and present an unusual view of the building, which renders the huge basement and dependencies system visible that Monticello is based on.

Thinking through animation

In the course of the ICSC-INTERCITY/SWITCHCITY exchange project (2015–2017) the involved artist collectives also discussed and worked on opportunities, new ways, and borders of collectivity in the artistic workflow. Here some thinking through animation regarding the question: “How to handle ‘agonistic pluralism’ (Chantal Mouffe) in ‘collective’ (artistic) production/projects and how to come to decisions (isn't that a contradiction in itself?) ?”

Referring to the animation: Isn’t that one of the problem with typical endless, often boring collective discussions, which most of the time leads to everyone’s exhaustion? What about many pink balls that appear together (Jean-Luc Nancy) without the need to be played together but at the same time influence each other just by being there?