Kendal Cross Lane Projects will reopen a kinetic art exhibition this month

A KINETIC art exhibition is set to launch in Kendal this month.

The Cross Lane Projects will reopen this month with an exhibition by Dean Kenning, winner of the 2020/21 Mark Tanner Sculpture Award.

Dean Kenning is known for his kinetic and sound sculptures, as well as his videos and diagrams.

Her work is produced from hands-on materials and process-based experimentation, and in the spirit of DIY problem solving.

Kenning used his confinement this time to expand the possibilities of his kinetic sculpting practice. For ‘Evolutionary Love’ in Kendal, Kenning produced a series of semi-autonomous, interactive creatures, which continually crawl and crawl around the gallery, dodging obstacles and interacting with visitors and each other – the effect is more’ animal’ than ‘robotic’ because the emphasis remains on the aesthetics of movement, in particular nervous or compulsive movement.

He said: “My ambition is to induce pathos and alertness in the viewer, as the mechanical behaviors of the moving sculptures suggest creature states, such as fear, curiosity and physical struggle towards a goal.”

The ‘crawlers’ will rub shoulders with ‘vegetal’ (or ‘psychobotanical’) kinetic sculptures. Flabby silicone arms or branches spin spasmodically, dance or clash on polystyrene bases. They are the crawling fauna flora, inhabiting the middle of the gallery space.

The kinetic sculptures are accompanied by colorful diagrams: prints, paintings and a large chalk drawing. They are tools for reflection, which propose to explore natural, philosophical and artistic objects – their functioning, their growth and their meaning – by establishing analogies and describing the different ways in which the elements that compose them are articulated.

Creepy works evolved in close collaboration with creative computer educator and coder Llewelyn Fernandes and retains a decidedly analog feel as new forms, functions and materials are developed in a continuous feedback process of trial and error production. In line with Kenning’s earlier work, the need to make kinetic sculptures “work” (and work consistently) forces and allows the artist to subordinate his formal-compositional judgment, to relinquish absolute control of the author and to open the work to contingency.

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