Escape Velocity
“MacMurtrie-who holds a master of fine arts degree in new forms and concepts from the University of California at Los Angeles-studied martial arts at the University of Arizona at Tucson, and maintains an ongoing interest in puppetry.
"I have no technical background whatsoever," he explains, "but, in a way, I have an advantage over engineers because I approach the making of these robots from an anatomical viewpoint. I say, 'Hey, that piston is a muscle, that universal joint is a shoulder,' an...d then I apply those revelations to what I know about the body. As a result, my machines aren't rigid; they're graceful in a spastic, awkward way." In their earliest incarnation, MacMurtrie's "techno-puppets" existed only as two-dimensional grotesqueries. They appeared in his painting Breakdown of Society as body parts littering the streets of a megalopolis fallen into anarchy. In time, they slithered off his canvases, reincarnated as painted latex skins. MacMurtrie wore them in ritualistic performances that invoked the Aztec hieratic practice of dancing in the flayed skins of sacrificial victims.MoreLess
"I have no technical background whatsoever," he explains, "but, in a way, I have an advantage over engineers because I approach the making of these robots from an anatomical viewpoint. I say, 'Hey, that piston is a muscle, that universal joint is a shoulder,' an...d then I apply those revelations to what I know about the body. As a result, my machines aren't rigid; they're graceful in a spastic, awkward way." In their earliest incarnation, MacMurtrie's "techno-puppets" existed only as two-dimensional grotesqueries. They appeared in his painting Breakdown of Society as body parts littering the streets of a megalopolis fallen into anarchy. In time, they slithered off his canvases, reincarnated as painted latex skins. MacMurtrie wore them in ritualistic performances that invoked the Aztec hieratic practice of dancing in the flayed skins of sacrificial victims.MoreLess
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