Nathan Caldecott's work moves between pseudo-minimal sculptures, industrially shredded installations, and algorithmic digital painting. All touch on the process of ‘rendering’, and the awkwardness of digital models in digital and physical spaces.

He uses SketchUp as his studio, and as a means to over-engineer his sculptural work. One working file normally catalogues work made over a number of months, or years. When he needs a new space, he makes a new room. When he wants to dispose of old work, he deletes. As a functional tool, he uses plug-ins to find the biting points of sculptures, and to pre-program physical installations to millimetre accuracy.

The ‘studio’ aspect of his work in SketchUp normally forms a latent part of my practice, as he tests out the ideas he wants to make in the physical world. During his residency, he's carved out this ‘studio’ as a work in and of itself, cataloguing the detritus of studio usership in a number of revolving, documented spaces.

 

These evolved with the work underlying them, but also under a guise of continuous improvement, with spaces publically over-engineering themselves in anticipation of some future production, or display. Fracture Technologies and Posture Dynamics – names cynically sourced from Instagram geo-tags – are exercises in creating a utopian digital studio facility, while Nathan’s Art Studio converts a number of previous studio spaces into an integrated building, musing on the potential value of their provenance.  

 

Visually, the models play with the way lines are rendered via a parallel projection X-Ray view, inverting the imagery of the lines as diagrams, and removing a sense of personal co-location. Featuring an un-named sculpture throughout, we are unsure if it is a product of these spaces, or an ornament to them.

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Nathan Caldecott's practice has a focus on digital models, and their statehood in physical spaces. He's interested in the dual functions these models have: the roles they have to play as structural units, and the roles they could play as containers of value. Creating a redirected form of minimalist sculpture, his work creates a distinct distance between these dual functions, using narratives of physical value to intercept and amplify the models' visual systems.