North Carolina Museum of Art — Renderings

Mark Di Suvero's No Mess is bold, industrial, and assertive in the landscape as it is, but through data, it translates through the particles into something cosmic. The angular orbs carry weight even scattered. At full dissolution the image reads less like an exploded diagram and more like a planetary event: mass converting to light, structure releasing into orbit.

Moore's outdoor bronzes always have an affinity with the landscape. They never quite sit on it, they settle into it. The particle treatment amplifies this: by the middle frames, the sculpture begins dissolving into hillside fog, no longer clearly separable from the light it sits within. By the final frame, the distinction between object and atmosphere has mostly closed.

Simpson's whirligigs are massive kinetic folk sculptures built from salvaged metal, light reflectors, and the wind. These renders carry that restlessness into a different register: the particle system disperses the structures into the surrounding tree canopy and sky, the boundary between made object and natural site becoming progressively less certain across the eight frames.