Ós
Ós are kinetic sculptures built upon the unique capabilities of Ordinals.
Their existence in the BTC blockchain allows them to keep evolving forever without repetition and to react simultaneously when a new block is inscribed.
Layers upon layers of wire-thin elements make the pieces appear massive yet delicate, almost fragile.
The parts keep shifting position and color according to some invisible order or set of rules. It’s not clear if they’re struggling to maintain balance or looking for it.
Art changes as if monitoring the irregular breathing of a living creature: when a change to the blockchain is detected, all sculptures react in sync, but each in its own way.
Warnings are triggered, followed by radical shifts of position until a new stability is found. But be warned: such an endless state of expectation will cause frequent false alarms.
An equation trying to solve itself. Animated data visualization. Digital matter.
Ós is an amalgam of those ideas plus inspiration from Soviet architecture, blueprint aesthetics and the works of the school of Nice, particularly Tinguely’s mobiles, and Arman’s cuts and accumulations.
To fully appreciate a sculpture, one should sense its volume, look at it from different angles [mouse/fingers].
Ós being digital and kinetic allows to change its speed, adding an extra dimension to explore [up/down arrows].
With Ós I learnt that Bitcoin has a rhythm but it’s not monotonous, it has irregularities, texture that comes from our very human interference. Artists, collectors, degens and flippers alike, all contribute to this. We’re all fuel to an engine based on unpredictability.