This research intends to deal, from an artistic perspective, with the imaginary fracture that exists between crafts and technology, focusing on the bridging point between hand and machine in jewellery making and more particularly in gemstone carving.
Although the etymological definition of craft shows a direct link with the domain of technology, and despite the fact of humans being immerse in a self-made world, craft is often associated with the way things were done in the past but not with how they will be done in the future. We build our understanding through technological systems that will, in turn, shape how we act and think. Through a phenomenological engagement towards making, Edu Tarín intends to plasm his personal entanglements with new technological processes and to find new sustainable equilibriums between the notion of human and technology.
The research methodology is based largely on an interdisciplinary approach, physically exploring how cognitive structures evolve within both traditional and modern manufacturing processes, and in search for ways to enable a deeper interaction between different branches of knowledge involved within the process of making.
By intertwining human, machine and artifact through reciprocal modification, Edu Tarín intends to question anthropocentric ideals in search for a more intimate and intrusive way of dealing with matter that encompasses post-humanist and new materialistic cultural identities.