Joshua Harker (b.1970) is an American artist considered a pioneer & visionary in 3D printed art & sculpture. His series of “unmakeable” technically complex tangles is credited as the first to break the design & manufacturing threshold of possibility. His pursuit of a process to bring his works into the 3rd dimension culminated after nearly 20 years in a perfect storm of software development, materials engineering, & 3d printing technology advancements. He went on to navigate the creation of his “Tangle” series in the archival material of cast bronze, thus bridging the traditional techniques of the past with technology of the present. To fully appreciate the gravity of the pieces one must understand the practical impossibilities of their existence. This has been considered a landmark event in the history of sculpture & the chronology of the 3D printed medium & has made him one of the most recognized artists in the field.
Joshua’s young life included post 60’s off-grid communal living, Hell’s Angels babysitters, family tragedy, & complete artistic immersion. In addition to diverse formal art education, Joshua earned his experience & honed his skills through profuse immersion & practice. 25+ years of working with & adapting technology & fabrication machinery to his fine art in efforts to build what could not previously be made. Joshua’s fascination with digital sculpture and 3 dimensional printing technology began as a commercial sculptor and designer in the toy, invention and design, special effects, and product development industries. In the late 90’s he founded a boutique design and development firm servicing some of the largest global properties and corporations. He served as its president & CEO through 2008 after which he left his post to return to art.
Besides exhibiting in dozens of shows, galleries, & museums, Joshua’s experimentation in the presentation of his art through social media & the internet has garnered him international recognition & acclaim. He produced the #1 most funded Sculpture project in Kickstarter history (2011-2015) & is among thousands of collections. His work has appeared in countless publications & press worldwide.
“My art is about pushing the limits of form & dimensions to share my visions… an exploration into what can be made & how to accomplish it in effort to tell a story or create an experience. I incorporate digital tools, software, & technology as well as traditional mediums in my work to create art that is both exciting & engaging. My work is fresh, imaginative, & cutting edge. In addition to static & kinetic works, I bridge 2D & 3D via projection mapping of images & animation onto sculptures in large scale live installations. The intention is to establish a canvas for the 4th dimension of time in my art & provide a vehicle for storytelling & experiential presentations through my sculptures.”
“My art is a unique blend of allegory, abstract neo-surrealism, representational interpretation, and is invariably contemporary. There is an underlying filigree aesthetic in all my work with an emphasis on line fluidity stemming from my early 2D linear automatism explorations (pioneered by André Masson and practiced notably by Miró, Breton, Dalí, Arp, and Picasso). My intent is to explore and give form to the architecture of the imagination. I have come to use the reoccurring filigree/tangle aesthetic to symbolize rebirth & growth. I also apply this approach to representative forms. The 2 dimensional linear rework of the 3 dimensional surface brings a new identity to the subject inviting you to read & rediscover the form through the gentle visual lead of the pattern. My geodesic & wireframe spatial forms & constructions offer another interpretation of representational subjects in direct juxtaposition to the lyrical filigree aesthetic commonly accompanying them via projected animation. I feel this polarity brings balance & depth to my body of work.”
“Bolstered by the advent of organic modeling software, 3D printing technologies and material engineering, my visions are now able to be realized sculpturally in archival materials. Never before have forms of this organic complexity been able to be created. This boon of technology is a revolutionary time for the arts and one which will be boldly marked in history. I am honored to be considered one the pioneers in the medium.”