Ron J Ziser
Following the completion of my bachelor’s degree, I have spent the last few years moving sporadically between different projects— first a pop-up gallery space, then a concept for an online art shop, and then a business specialising in architectural visualisation. At times I chose to abandon making art all together and instead explored other disciplines, such as computer programming and ﬁlm making, which still hold my interest today.
In 2017 I joined a communal workshop which enabled me to produce a new series of works using otherwise inaccessible digital mediums. The firsthand experience of working in this space has been a pivotal point within both my practice and my research. This period of creative exploration culminated in my late application to the RCA during the first UK lock-down, when I was placed on a waiting list before being offered a place on the course.
Royal College of Art, MA Sculpture, 2020 - 21
Goldsmiths, BA Fine Art and Art History, 2011 - 13
Chelsea College of Art and Design, Art Foundation, 2009 - 10
Technological advances in 3D production and computer-aided design have led to its democratisation. My work revolves around the possibilities of this new world and the artistic freedom it provides by utilising these rapidly expanding digital processes.
In developing sculptural objects based on modular systems of making, I construct systems that allow me to design, modulate, and reproduce objects that blur the boundaries between the functional and the sculptural.
By working in this methodical and systematised manner, the work is framed by an inherent logic which is then re-examined, improved upon or discarded. Through this process I explore the tension between the constructed, cohesive object, and the unpredictability of external events.
My interest in the democratisation of industry has become a central theme in my work and it is also the focus of my dissertation, in which I explore a variety of community-based enterprises as modern manifestations of Marxist ideals. This has spurred a broader interest in the ‘futurisms’ of our society today— from environmentalism to wellness culture and the space race. I share in the optimism embodied in these movements, whilst maintaining a degree of scepticism with regard to some of their claims.
Moving forward I would like to explore these themes with a more unbounded approach to production. To this end, I have begun to experiment with combining more traditional mediums (such as acrylic painting and clay sculpting), with digital techniques that I have developed to create unique objects and larger floor-based works.
The micro-factory is a communal work-space where independent makers share the means of production. I've been using this kind of workshop to create a series of reproducible works which I build on a jig for accuracy and efficiency, a smaller micro-factory of sorts. Above are images of various experiments I've produced in addition to a 2D design for a floor based sculpture resembling a small factory based on the form of the jig I use.
The advent of social media has vastly democratised the scope for public self expression. The significance of this freedom gained new importance during the first corona virus lock-down when our ability to physically demonstrate was suspended.
In a moment of manic desperation and excitement about the environmental benefits of the lock-down, I decided to use instagram as a platform to approach members of the public asking to post a photo of a green shirt, as a show of support for environmental causes.
Above is an imagined wall display of a selection of the resulting photographs, a physical assembly of disunited voices in the digital world. The black square is a tribute to the Black Lives Matter movement when the campaign was interrupted by their Black Out Tuesday initiative, producing a visual composition determined by the convergence of these two decentralised campaigns.
Any proceeds from the sale of this work will be donated to an environmental cause. All contributors will be asked for permission.