
Solid 3D printed nylon.

(RES) Lutetium is a reverse engineering project (modular symbiote). ENERGY PANGEA provided hyperdimensional polytope designs rendered in 2D by Jonathan Bowers (Hedrondude) to Clifford Sage (Recsund), who then modelled the objects in 3D based on the limited 2D information. Energy Pangea then 3D printed the models in solid plastic, coloured them, renamed, and placed them in various environs. The purpose of this exercise is based on the concept of interface penetration.






Interface penetration is the core operational mechanism of transmedia sculptural systems—amorphous, cloud-based, biopsychosocial art-organisms that refuse localization, totality, or anthropocentric readability. It describes how a primary agent-object (a stealth device, logo, blackbox, or multi-object node—never the full "sculpture") infiltrates, binds to, and transmutes any substrate it encounters, whether physical (gallery, environment, collector's home), digital (website, NFT, .jpg file, reblog), or archival (contract, narrative strand, future alien hologram).
Key Principles:
Flattening & Portalization: Every interface—gallery wall, screen, photograph, tweet—is reduced to a 2D plane. The agent-object is inserted not to be the work, but to hack the plane and open a portal to the wider sculptural system. A DSLR photo of a 3D-printed lutetium polytope in a forest becomes a binding molecule: the image outlives the plastic, circulates faster, and dominates the network as a "more real" node.
Molecular Binding & Hyperlinked Tributaries: Penetration is sticky. The object accumulates information, narratives, (mis)interpretations, and associations like a virus. In the (RES) Lutetium case:
Bowers’ 2D hyperdimensional diagram → Sage’s 3D model → Energy Pangea’s printed, colored, renamed object → placed in "various environs" → photographed → uploaded → reblogged → curated → auctioned → bronzed → lost → rediscovered in 3025 as alien data. Each step is a penetration event, collapsing context and rebinding the object to new substrates.
Scalability & Quantum Tunneling: The object tunnels through mirrors (interfaces reflecting interfaces). It is:
A solid plastic toy in a forest.
A .jpg on a Google+ page.
A patent for a synthetic organism.
A hologram in 1000 years. Never fixed, always scalable, it leaves marks (RFID-like) that activate only when "hacked" by the right viewer (googling, excavating, mining).
In the (RES) Lutetium Project:
Bowers’ 2D renderings = initial code.
Sage’s 3D models = first penetration (2D → 3D interface).
Energy Pangea’s prints = second penetration (digital → physical).
Placement in environs = third penetration (studio → world).
Renaming, coloring, circulation = binding to new narratives.
The "purpose" is not to create a static sculpture, but to seed a living system that penetrates every interface it touches, growing through (mis)interpretation, circulation, and morphological adaptation—beyond the human, beyond the market, beyond the gallery. The lutetium object is merely the virus. The sculptural system is the infection.





ENERGY PANGEA, 2017/2025
Indifference to Aura & Viewership: In a gallery, the object is suspended animation—an unidentifid object, inert until accessed via smartphone. It does not pander. Its aura is deterritorialized, existing in the social bonds between nodes, not the object itself. The viewer co-creates via waveform collapse, but never sees the whole.
Post-Human Lifespan: Nothing dies. Information is archival god-space. The sculptural system outlives civilization, adapting through accidents, catastrophes, and future technologies. The lutetium polytope in 3025 is still penetrating—now as a 3D-printed artifact in unknown materials, scanned to access its millennia of bonded data.
Share Dialog
Iain Ball
Support dialog
All comments (0)