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Lilla LoCurto Bill Outcault
Brooklyn, NY
Neighborhood: Carroll Gardens



ARTIST STATEMENT: Collaborating since 1991, Lilla LoCurto and Bill Outcault are artists whose work has focused on the fragile nature of life and their relationship with an increasingly technological world. Digitally remapping and reconfiguring the human body, their practice has employed technologies such as 3D scanning, computer animation, 3D printing and motion-capture to explore these issues. Their working paradigm from the beginning has been one of interdisciplinary collaboration with people in such diverse fields as anthropology, geography, mathematics, physics and engineering. In pursuit of some of their projects they have worked with a number of institutions and universities, including military bases, to promote collaborations and also as a means to access otherwise unattainable technologies and equipment. At these military bases, they scanned their bodies in a whole body scanner as a way to place three-dimensional, photographically recorded figures into a computer to work with as 3d objects. With custom software, they were able to deconstruct these figures, generating choreographed imagery that was made into animations, altering the way they visualized the figure. In their most recent video work they have moved away from animation as the sole footage source and, while still using models from a whole body scanner, they have also incorporated, among other things, motion-captured actors and dancers. Within the video they have blended these movements with the animations, creating a collage of sorts by compositing the various image sources. They have also become interested in marionettes through their work with motion-capture. Initially they used the technology to create virtual puppets by attaching choreographed movements to 3d body scans but further work led them to create actual marionettes from scanned models. These puppet's ability to abstract human characteristics and their disconnected relationship to ourselves lends them qualities that the artists find both unnerving and fascinating at the same time. Their performative aspect, in its scale and its historical implications, is also extremely intriguing to them and they are looking very forward to expanding their investigations in this area further.
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  • the willful marionette
    2014
    mixed media, 48" x 48" x 90"
    The project, built from a three-dimensionally scanned figure, is a stringed marionette that responds in real time to human interaction, engaging with a viewer by reading movements and expressions.

  • marionette drawing
    2014
    mixed media drawing, 36" x 44"
    We plan to build, from three-dimensionally scanned figures, stringed marionettes or automata, that will be animated by cranks and gears to perform very simple, humanlike gestures.

  • marionette drawing
    2014
    mix media, 36" x 44"
    We plan to build, from three-dimensionally scanned figures, stringed marionettes or automata, that will be animated by cranks and gears to perform very simple, humanlike gestures.

  • flaneur_classical
    2012
    pigment print, 13" x 18"
    flaneur, draws upon the time between 1890 and the mid 1930's and encompasses Neoclassicism, Jugendstil and Modernism by using the architecture, dance, music and philosophy of the period.

  • flaneur_modern
    2014
    pigment print, 13" x 18"
    flaneur, draws upon the time between 1890 and the mid 1930's and encompasses Neoclassicism, Jugendstil and Modernism by using the architecture, dance, music and philosophy of the period.

  • till we have faces
    2011
    pigment print, 83.25" x 20"
    till we have faces is based on the mythical love story of Cupid and Psyche. It expresses failed perception of love, dysfunctional family unit and connections between those in distressed.

  • arrangement after ash white
    2006
    pigment print, 25.5" x 22.5"
    Taken from the biblical story about "the beginning", we removed its narrative, producing a visual cacophony of moving imagery, totally abstracting the original story while still reflecting i

  • telamon[7]
    2009
    pigment print, 24" x 34"
    telamon is the story of Perseus and King Atlas, who Perseus changed into stone. The abstracted tension creates a thin line between the grotesque and the beauty of human life.

  • telamon[4]
    2009
    pigment print, 24" x 34"
    telamon is the story of Perseus and King Atlas, who Perseus changed into stone. The abstracted tension creates a thin line between the grotesque and the beauty of human life.

  • timeline_33seconds
    2006
    pigment print, 24" x 48"
    Image made by freezing a sequence of moments in time, translating the choreographed movements of the exploded figure into calligraphic lines, giving new meaning to the notion of body language.

  • timeline_32.76seconds
    2006
    pigment print, 24" x 48"
    Image made by freezing a sequence of moments in time, translating the choreographed movements of the exploded figure into calligraphic lines, giving new meaning to the notion of body language.

  • thinskinned[l8]
    2004
    pigment print, 24" x 36"
    With 3D images, the camera surrounds the subject, a unique simultaneity. In thinskinned, instants from animations are revisited and compiled from numerous viewpoints, capturing a single moment from mu

  • thinskinned[eb_2]
    2004
    pigment print, 24" x 30"
    With 3D images, the camera surrounds the subject, a unique simultaneity. In thinskinned, instants from animations are revisited and compiled from numerous viewpoints, capturing a single moment from mu

  • thinskinned[b6]
    2004
    pigment print, 12" x 16"
    With 3D images, the camera surrounds the subject, a unique simultaneity. In thinskinned, instants from animations are revisited and compiled from numerous viewpoints, capturing a single moment from mu

  • thinskinned[b5_3]
    2004
    pigment print, 12" x 16"
    With 3D images, the camera surrounds the subject, a unique simultaneity. In thinskinned, instants from animations are revisited and compiled from numerous viewpoints, capturing a single moment from mu

  • selfportrait.map, Polyconic BS1sph(8/6)7_98
    2000
    chromogenic print, 48" x 62.5"
    
selfportrait.map looks at the digital reordering of three-dimensional forms through remapping and reshaping of the digitized body and offers an alternate way of representing the human figur

  • selfportrait.map, Conformal Guyou L2sph(8/6)7_98
    2000
    chromogenic print, 48" x 96"
    
selfportrait.map looks at the digital reordering of three-dimensional forms through remapping and reshaping of the digitized body and offers an alternate way of representing the human figur
 








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