In 2017, Shuster+Mosley created WHAT MATTERS, two immersive installations at St Oswold’s Church and Churchyard, as part of the Lumiere Festival in Durham. Inside the Church thousands of hand blown glass fragments were suspended from specific locations, arranged according to stages of cosmic evolution from the very early stages of the universe just after the Big Bang and before the formation of denser particles that preceded the “scattering of light”. The glass colours and locations were coordinated according to a spectrum of spherical sections derived from the Cosmic Microwave Background Radiation (CMBR, “relic radiation”)
Shuster+Mosley collaborated with world leading scientists to explore neurological form and function in super-resolution, reflecting on the role of super resolution imaging technologies in relation to broader questions about the nature of consciousness. The residency resulted in the development of a large-scale, tourable, immersive artwork “Microcosmos”: a sculptural environment created from an intricate, precision-engineered network of curved, reflective stainless steel tubes and clusters of many hundreds of translucent, hand-blown glass orbs, illuminated by a series of programmed LEDs that represent brain wave activity cycles that radiate through the structure in constantly evolving patter nation.
The social sculpture is a collaborative project with artist Natalie Jeremijenko and architects Tate and Harmer. The aim is to encourage relations between nature and culture so as to inspire transparency and perspective, a space that is sensitive to the environment and contemplative, but one that is also radically open to the public realm. The funds generated from the TreexOffice were reinvested in green spaces in the area, aiming to create a virtuous circle.
The artwork has been created in augmented reality for Onedome, as part of the Unreal Garden in San Francisco. Future Bodies deals with our relationship to screens and questions what dimensions of reality are lost when we experience the world through this plane and what new, spectral possibilities and new forms of reflectivity might emerge by reintroducing dimensionality into its form. The augmented reality format offers the opportunity to explore the screenic world at the interface of immaterial virtuality and physical interaction, where the body is implicated in the experience of technology and the interface of immaterial virtuality and physical interaction, where the body is implicated in the experience of technology and the interface itself becomes the physical spatial medium.
This January, art gallery WE COLLECT and MTArt Agency co-hosted the exhibition Drivers for the Future, a group show curated by Olimpia Saccone featuring works by our artists Enam Gbewonyo, Elisa Insua, David Aiu, Shuster+Mosley and Adelaide Damoah. The exhibition aimed to offer a perspective on the main timely fights that the new generations are standing for, the battles that will lead to a better future.
Obvious was invited by TEDx to talk about their innovative techniques and artworks.
One of the collective’s first artworks, “Monsieur Belamy”, was sold for $432,500 by Christie’s NY and was the first piece of AI to ever come to auction.
As shown on the FT Weekend cover, яour artist Saype created the biggest public artwork under the Tour Eiffel, a 15 000 square meter biodegradable painting which is part of the international project “Beyond Walls”
Our artist Saype collaborated with The Guardian for their campaign as the first national newspaper to use recyclable packaging.
This fresco was painted in September 2018 during the Vevey Image Festival at La tour de Peilz, Vevey, Switzerland.