Noriyuki Suzuki works with digital media, photography, and film. His installations often consist of self developed technical apparatuses that perform movements or tasks controlled by algorithms. However, his new works do not move; instead, they are sculptures created with a 3D printer. For his series “A Study of Support”, he combined various materials such as wood or steel rods, electrical cables, and ribbons with body like shapes. He developed the connection of these originally unrelated parts and the material distribution using software for topology optimization. This is a calculation technique that optimizes the use of material for an object being developed within a virtual design space.

This combination of mathematical calculations and artistic decisions has produced chimera like, body like forms. Their whitish, smooth shapes are reminiscent of hybrid skeletal parts of human bodies. The sculptures, which evoke ribs, collarbones, or vertebrae, are augmented with electrical cables, ribbons, or batteries. Their technoic appearance prompts questions about our body images, about notions of technological self optimization, and the ideas of so called Transhumanism.