Whether carved by hand into plaster with steel-rigged drafting tools, plotted with CNC machines, or rendered in 3D software, my work utilizes diverse systems and tools to express the complex ideas of fetishism, transhumanism, and the design of the self.
As artists in the twenty-first century, we are inundated with new systems and tools for visual art that aredevelopingat an unprecedented rate. These emerging systems and tools allow us to work more efficiently, mitigating the human tedium that would otherwise consume the vast majority of our human bandwidth. As we face the overwhelming allure of automation, we as artists must ask ourselves: do we embrace it, removing the touch of the human hand from our work, or do we resist and sacrifice our cerebral bandwidth in the name of preserving something that we perceive to be precious?
From this dilemma, more questions arise. If the human hand is precious, I can now ask why? Is it because the the ego of the artist must be apparent in a supposed great work? Is it the resource of time what we are truly appreciating in art? Is it the presence of nuanced error in a work that which highlights the limitations of our human condition that gives it value? Perhaps these are values that we appreciate in the art of those who are born of a different generation, where the yoke of error and time were non-negotiable. I believe that precision, efficiency, and economy of expression are now more attainable and important than ever before and that ideas need not be held hostage by the arbitrary limitations of time, ego, and the celebration of error, especially when the idea is precisely that.
Stephen Benedicto is a fine artist based out of Washington DC. His art has been featured in commercial estates in the DC metro area and been acquired into private collections around the nation. Most recently, his works were shown at a satellite event in Miami during Art Basel and at Hemphill gallery in DC. Find him at STABLE DC, a new artist community in Eckington.