This Thursday, alumnus Jesse Colin Jackson (MArch 2009) launches the solo exhibition Marching Cubes at the Pari Nadimi Gallery. Marching Cubes is a large collection of 3D printed components that can be assembled together through magnetic interlocking geometries. The shapes of the individual components are based on an eponymous computer algorithm developed in the 1980s.

From the gallery's website:

Drawing inspiration from an eponymous computer algorithm, Marching Cubes is part sculpture, part playground. In the 1980s, researchers devised a method of generating mesh graphics from medical scan data that featured an underlying grammar of faceted cubes. Jackson has taken this digital syntax and refined it into a language for assembly, produced as a family of 3D printed components with interlocking geometries and magnetic connections—and invited people to help build with them. The participants enact the algorithm in the real world, becoming a collective computer in service of sculptural form-making.

The exhibition originally began as a series of events at the Experimental Media Performance Lab at the University of California, Irvine where Jackson is an Assistant Professor in the Department of Art. Marching Cubes at the Pari Nadimi Gallery showcases the result of these events. On display will be a two-channel video showing the collaborative construction performances, an accompanying refined sculpture of the most successful assembly, and an inventory of the components involved in the original events.

The exhibition will be on display from November 17, 2016 to January 14, 2017 with an opening reception happening November 17 from 6:00-8:00pm.

Pari Nadimi Gallery is located at 254 Niagara Street in Toronto.

Two years ago, Jackson launched an exhibition at the Pari Nadimi Gallery titled Radiant City. Focused on Toronto’s tower apartment neighbourhoods, Radiant City explored the evolving presence and status of these sites in our city: arrival destinations for incoming immigrant populations, essential housing for one quarter of the city’s population, the decaying location of much of Toronto’s urban poverty, products of modern ideologies gone awry, and locations of past glory, current dynamism, and future potential.