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“Regenerative Reliquary” © Amy Karle 2016

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Amy Karle expanded her bioart into creating artwork out of living cells. As Artist in Residence at Autodesk, Karle embarked on groundbreaking work growing designs in bone along a biofriendly, biodegradable 3D printed scaffold – opening a new form of artwork, as well as expanding opportunities for enhancing our bodies, biomedical applications, and making things that were never possible to make before. “Regenerative Reliquary” is a 3D printed scaffold made of a biodegradable hydrogel that disintegrates over time, with the intention that stem cells seeded onto that design will eventually grow into tissue and mineralize into bone along that scaffold. Video on this work: Bringing Bones to Life: Amy Karle https://vimeo.com/168270199 and in the sequel: Bringing Bones to Life: Amy Karle’s Process https://vimeo.com/173067250 Open source instructions for those who wish to experiment: 3D Printing Scaffolds for Cell Culture by Amy Karle http://www.instructables.com/id/3D-Printed-Scaffolds-for-Cell-Culture/

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Amy Karle Biofeedback Artwork, 2011

Amy Karle connects her body and consciousness to technology to create art, repurposing a Sandin Image Processor as an electrophysiological visualization device. While meditating, Amy Karle inputs her biofeedback into the historically significant Sandin IP analog computer to generate the output of image and sound in real-time. The artwork is both the long-duration performance as well as the experimental video art that is created in the process. (2011)

Amy Karle Biofeedback Artwork, 2011

Amy Karle connects her body and consciousness to technology to create art, repurposing a Sandin Image Processor as an electrophysiological visualization device. While meditating, Amy Karle inputs her biofeedback into the historically significant Sandin IP analog computer to generate the output of image and sound in real-time. The artwork is both the long-duration performance as well as the experimental video art that is created in the process. (2011)

Amy Karle Biofeedback Artwork, 2011

Amy Karle connects her body and consciousness to technology to create art, repurposing a Sandin Image Processor as an electrophysiological visualization device. While meditating, Amy Karle inputs her biofeedback into the historically significant Sandin IP analog computer to generate the output of image and sound in real-time. The artwork is both the long-duration performance as well as the experimental video art that is created in the process. (2011)

Amy Karle Biofeedback Artwork, 2011

Amy Karle connects her body and consciousness to technology to create art, repurposing a Sandin Image Processor as an electrophysiological visualization device. While meditating, Amy Karle inputs her biofeedback into the historically significant Sandin IP analog computer to generate the output of image and sound in real-time. The artwork is both the long-duration performance as well as the experimental video art that is created in the process. (2011)

2017-The-Illusion-of-Time–(The-Illusion-of-Time-in-the-Body)-by-Amy-Karle-pastel-on-print

The Illusion of Time in the Body

2017-Portal-to-Eternity-by-Amy-Karle-pastel-on-print

2017-Portal-to-Eternity-by-Amy-Karle-pastel-on-print-detail

2017-Breath-of-Life-by-Amy-Karle-neural-network-and-pastel-drawing

2017-Breath-of-Life-by-Amy-Karle-neural-network-and-pastel-drawing-detail

2017-the-brain-dissected-by-amy-karle

2017-the-brain-by-amy-karle

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2017-heart-anatomy-by-amy-karle

2017-death-mask-by-amy-karle-8_5x11

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2017-The-Heaven-Inside-Us-by-Amy-Karle

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2017-Mechanisms-of-Reflection-1-by-Amy-Karle-00

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2017-Mechanisms-of-Reflection-2-00-by-Amy-Karle

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© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Single Vertebra, Specimen № 1 Amy Karle, 2016 ASA terapolymer 3.5 in H x 7.5 in W x 2 in D (sculpture only) 5 in H x 10.5 in W x 4 in D (mounted in case) Computer Aided Design (CAD) created from reality capture of 3D scanned Elk Vertebra bones in the California Academy of Sciences collection, digital design and generative art; digitally manufactured (3D printed) and hand finished into sculpture.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Single Vertebra, Specimen № 1 Amy Karle, 2016 ASA terapolymer 3.5 in H x 7.5 in W x 2 in D (sculpture only) 5 in H x 10.5 in W x 4 in D (mounted in case) Computer Aided Design (CAD) created from reality capture of 3D scanned Elk Vertebra bones in the California Academy of Sciences collection, digital design and generative art; digitally manufactured (3D printed) and hand finished into sculpture.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Single Vertebra, Specimen № 2 Amy Karle, 2016 ASA terapolymer 3.5 in H x 7.5 in W x 2 in D (sculpture only) 5 in H x 10.5 in W x 4 in D (mounted in case) Computer Aided Design (CAD) created from reality capture of 3D scanned Elk Vertebra bones in the California Academy of Sciences collection, digital design and generative art; digitally manufactured (3D printed) and hand finished into sculpture.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Single Vertebra, Specimen № 2 Amy Karle, 2016 ASA terapolymer 3.5 in H x 7.5 in W x 2 in D (sculpture only) 5 in H x 10.5 in W x 4 in D (mounted in case) Computer Aided Design (CAD) created from reality capture of 3D scanned Elk Vertebra bones in the California Academy of Sciences collection, digital design and generative art; digitally manufactured (3D printed) and hand finished into sculpture.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Single Vertebra Amy Karle, 2016 ASA terapolymer 3.5 in H x 7.5 in W x 2 in D (sculpture only) 5 in H x 10.5 in W x 4 in D (mounted in case) Computer Aided Design (CAD) created from reality capture of 3D scanned Elk Vertebra bones in the California Academy of Sciences collection, digital design and generative art; digitally manufactured (3D printed) and hand finished into sculpture.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Single Vertebra, Specimen № 1 Amy Karle, 2016 ASA terapolymer 3.5 in H x 7.5 in W x 2 in D (sculpture only) 5 in H x 10.5 in W x 4 in D (mounted in case) Computer Aided Design (CAD) created from reality capture of 3D scanned Elk Vertebra bones in the California Academy of Sciences collection, digital design and generative art; digitally manufactured (3D printed) and hand finished into sculpture.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Single Vertebra, Specimen № 1 Amy Karle, 2016 ASA terapolymer 3.5 in H x 7.5 in W x 2 in D (sculpture only) 5 in H x 10.5 in W x 4 in D (mounted in case) Computer Aided Design (CAD) created from reality capture of 3D scanned Elk Vertebra bones in the California Academy of Sciences collection, digital design and generative art; digitally manufactured (3D printed) and hand finished into sculpture.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Single Vertebra, Specimen № 1 Amy Karle, 2016 ASA terapolymer 3.5 in H x 7.5 in W x 2 in D (sculpture only) 5 in H x 10.5 in W x 4 in D (mounted in case) Computer Aided Design (CAD) created from reality capture of 3D scanned Elk Vertebra bones in the California Academy of Sciences collection, digital design and generative art; digitally manufactured (3D printed) and hand finished into sculpture.

2016 reality capture plus generative art algorithm 3d print mesh vertebrae bone sculpture by amy karle 4 vertebra top three quarter view

2016 reality capture plus generative art algorithm 3d print mesh vertebrae bone sculpture by amy karle 4 vertebra side view

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2016-Amy-Karle-vertebrae-019-3d-print-sculpture-art-top-3d-print-artist-newtons-cradle-collision-balls-colliding-vertebra-01-reality-capture-plus-generative-art-algorithm-bone-sculpture

2016-Amy-Karle-vertebrae-019-3d-print-sculpture-art-top-3d-print-artist-newtons-cradle-collision-balls-colliding-vertebra-02-reality-capture-plus-generative-art-algorithm-bone-sculpture

2016-Amy-Karle-vertebrae-019-3d-print-sculpture-art-top-3d-print-artist-newtons-cradle-collision-balls-colliding-vertebra-05-reality-capture-plus-generative-art-algorithm-bone-sculpture

2016-Amy-Karle-vertebrae-019-3d-print-sculpture-art-top-3d-print-artist-newtons-cradle-collision-balls-colliding-vertebra-06-reality-capture-plus-generative-art-algorithm-bone-sculpture

2016-Horse-Head-02-sculpture-by-Amy-Karle-top-new-media-3d-print-artist-2-frontal-view

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2016 amy karle 3d printed horse head sculpture best-edited

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Horse Head Amy Karle, 2016 ASA terapolymer 10.5 in H x 5.5 in W x 17 in D Computer Aided Design (CAD) created from 3D scan data of the historical head of the Horse of Selene at British Museum from the Parthenon Sculptures (3d Scan by Cosmo Wenman), then processed with reality capture software, generative art and digitally designed by Amy Karle; digitally manufactured (3D printed) and hand finished into sculpture. The complexity of creating and manufacturing this sculpture required technological advancements to be made in software and software to hardware communication, representing advancement in digital art, reality capture and new media sculpture. Also available in bronze, please inquire.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Horse Head Amy Karle, 2016 ASA terapolymer 10.5 in H x 5.5 in W x 17 in D Computer Aided Design (CAD) created from 3D scan data of the historical head of the Horse of Selene at British Museum from the Parthenon Sculptures (3d Scan by Cosmo Wenman), then processed with reality capture software, generative art and digitally designed by Amy Karle; digitally manufactured (3D printed) and hand finished into sculpture. The complexity of creating and manufacturing this sculpture required technological advancements to be made in software and software to hardware communication, representing advancement in digital art, reality capture and new media sculpture. Also available in bronze, please inquire.

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2016 artist amy karle horse head sculpture in 3d printed support material

© 2015 Amy Karle © 2015 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

© 2015 Amy Karle © 2015 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

© 2015 Amy Karle © 2015 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

© 2015 Amy Karle © 2015 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

© 2015 Amy Karle © 2015 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

© 2015 Amy Karle © 2015 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

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2016 golden bone sculpture 014 Amy Karle gold art biology technology new media bioartist bone a

2016 golden bone sculpture 099 Amy Karle gold art biology technology top artist new media bioartist bone a

2016 golden bone sculpture 083 Amy Karle gold art biology technology top artist new media bioartist bone a

2016 golden bone sculpture 062 Amy Karle gold art biology technology top artist new media bioartist bone 3*

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© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Cell Skull Amy Karle, 2016 PolyJet photopolymer 4 in H x 5 in W x 3.5 in D Sculpture: digitally manufactured, hand-finished 3D print created from 3D scan data of a human skull, digital design and generative art. Pattern speculatively designed for direct skeletal implant, osseointegration and potential osteoconduction dependent on materials used.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Cell Skull Amy Karle, 2016 PolyJet photopolymer 4 in H x 5 in W x 3.5 in D Sculpture: digitally manufactured, hand-finished 3D print created from 3D scan data of a human skull, digital design and generative art. Pattern speculatively designed for direct skeletal implant, osseointegration and potential osteoconduction dependent on materials used.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Cell Skull Amy Karle, 2016 PolyJet photopolymer 4 in H x 5 in W x 3.5 in D Sculpture: digitally manufactured, hand-finished 3D print created from 3D scan data of a human skull, digital design and generative art. Pattern speculatively designed for direct skeletal implant, osseointegration and potential osteoconduction dependent on materials used.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Cell Skull Amy Karle, 2016 PolyJet photopolymer 4 in H x 5 in W x 3.5 in D Sculpture: digitally manufactured, hand-finished 3D print created from 3D scan data of a human skull, digital design and generative art. Pattern speculatively designed for direct skeletal implant, osseointegration and potential osteoconduction dependent on materials used.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Cell Skull Amy Karle, 2016 PolyJet photopolymer 4 in H x 5 in W x 3.5 in D Sculpture: digitally manufactured, hand-finished 3D print created from 3D scan data of a human skull, digital design and generative art. Pattern speculatively designed for direct skeletal implant, osseointegration and potential osteoconduction dependent on materials used.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Cell Skull Amy Karle, 2016 PolyJet photopolymer 4 in H x 5 in W x 3.5 in D Sculpture: digitally manufactured, hand-finished 3D print created from 3D scan data of a human skull, digital design and generative art. Pattern speculatively designed for direct skeletal implant, osseointegration and potential osteoconduction dependent on materials used.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Cell Skull Amy Karle, 2016 PolyJet photopolymer 4 in H x 5 in W x 3.5 in D Sculpture: digitally manufactured, hand-finished 3D print created from 3D scan data of a human skull, digital design and generative art. Pattern speculatively designed for direct skeletal implant, osseointegration and potential osteoconduction dependent on materials used.

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© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Exoskeleton Backpiece Amy Karle, 2016 ASA terapolymer 13 in H x 14 in W x 4 in D Digitally modeled original CAD design, digitally manufactured, 3D printed and hand finished wearable art sculpture.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Exoskeleton Backpiece Amy Karle, 2016 ASA terapolymer 13 in H x 14 in W x 4 in D Digitally modeled original CAD design, digitally manufactured, 3D printed and hand finished wearable art sculpture.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Exoskeleton Backpiece Amy Karle, 2016 ASA terapolymer 13 in H x 14 in W x 4 in D Digitally modeled original CAD design, digitally manufactured, 3D printed and hand finished wearable art sculpture.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Exoskeleton Backpiece Amy Karle, 2016 ASA terapolymer 13 in H x 14 in W x 4 in D Digitally modeled original CAD design, digitally manufactured, 3D printed and hand finished wearable art sculpture.

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© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Exoskeleton Backpiece Amy Karle, 2016 ASA terapolymer 13 in H x 14 in W x 4 in D Digitally modeled original CAD design, digitally manufactured, 3D printed and hand finished wearable art sculpture.

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Exoskeleton Backpiece Amy Karle, 2016 ASA terapolymer 13 in H x 14 in W x 4 in D Digitally modeled original CAD design, digitally manufactured, 3D printed and hand finished wearable art sculpture.

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2016 Amy Karle sphenoid 095 3d print bioart sculpture art biology technology top 3d print artist bioartist skull bone

2016 sphenoid sculpture by amy karle 2 d 3d print bioart sculpture reality capture generative art algorithm art biology technology top 3d print artist bioartist skull bone

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2016 sphenoid sculpture by amy karle 01 b 3d print bioart sculpture reality capture generative art algorithm art biology technology top 3d print artist bioartist skull bone

2016 sphenoid sculpture by amy karle 01 a 3d print bioart sculpture reality capture generative art algorithm art biology technology top 3d print artist bioartist skull bone

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“The Incorruptible Body” gold skull sculpture by Amy Karle 2016

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

“The Incorruptible Body” gold skull sculpture by Amy Karle 2016

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

“The Incorruptible Body” gold skull sculpture by Amy Karle 2016

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

“The Incorruptible Body” gold skull sculpture by Amy Karle 2016

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

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ResonancePerformance by Amy Karle2015

Resonance Performance by Amy Karle 2015 Connecting her body and brain to a subwoofer and Chladni plate, Amy Karle turns bioinformatics into cymatics, generating bio-signals into visuals and sounds. Frequency adjusts with changing brainwaves; the sound is heard in Hertz though a subwoofer which vibrates a metal plate above it depicting the communication of vibrations and the symmetry of sound. Performed at Signal Culture in NY. ___________________________ Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

ResonancePerformance by Amy Karle2015

Resonance Performance by Amy Karle 2015 Connecting her body and brain to a subwoofer and Chladni plate, Amy Karle turns bioinformatics into cymatics, generating bio-signals into visuals and sounds. Frequency adjusts with changing brainwaves; the sound is heard in Hertz though a subwoofer which vibrates a metal plate above it depicting the communication of vibrations and the symmetry of sound. Performed at Signal Culture in NY. ___________________________ Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

ResonancePerformance by Amy Karle2015

Resonance Performance by Amy Karle 2015 Connecting her body and brain to a subwoofer and Chladni plate, Amy Karle turns bioinformatics into cymatics, generating bio-signals into visuals and sounds. Frequency adjusts with changing brainwaves; the sound is heard in Hertz though a subwoofer which vibrates a metal plate above it depicting the communication of vibrations and the symmetry of sound. Performed at Signal Culture in NY. ___________________________ Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

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“Internal Collection” garments based on anatomy by Amy Karle, 2017 photographer: Celeste Wyrick

“Internal Collection” Amy Karle, 2017 Silk, polyester, cotton, silver, natural and synthetic fibers. “Internal Collection” represents internal anatomy in external wearable form created by hand and digital manufacturing technologies that can be used in healthcare. Merging anatomy, fashion, and technology, the pieces are created from anatomical style drawings into digital designs (CAD), then laser cut pattern pieces and finally hand and machine sewn garments. By depicting designs inspired by anatomy, this work communicates that when we share our likeness and what is going on inside of us, it offers an opportunity for finding beauty within ourselves and connection with others. www.amykarle.com © 2017 Amy Karle and © 2017 Conceptual Art Technologies. Photo by: Celeste Wyrick ___ Amy Karle is an artist and designer who uses the mind, body, science and technology to create her work. Examining both material and ethereal aspects of life, Karle’s work taps concepts of what it means to be human and in this body, expressing internal experiences in visual forms; in turn her garments inform an internal experiences of how we feel about ourselves and in our body.

“Internal Collection” garments based on anatomy by Amy Karle, 2017 photographer: Celeste Wyrick

“Internal Collection” Amy Karle, 2017 Silk, polyester, cotton, silver, natural and synthetic fibers. “Internal Collection” represents internal anatomy in external wearable form created by hand and digital manufacturing technologies that can be used in healthcare. Merging anatomy, fashion, and technology, the pieces are created from anatomical style drawings into digital designs (CAD), then laser cut pattern pieces and finally hand and machine sewn garments. By depicting designs inspired by anatomy, this work communicates that when we share our likeness and what is going on inside of us, it offers an opportunity for finding beauty within ourselves and connection with others. www.amykarle.com © 2017 Amy Karle and © 2017 Conceptual Art Technologies. Photo by: Celeste Wyrick ___ Amy Karle is an artist and designer who uses the mind, body, science and technology to create her work. Examining both material and ethereal aspects of life, Karle’s work taps concepts of what it means to be human and in this body, expressing internal experiences in visual forms; in turn her garments inform an internal experiences of how we feel about ourselves and in our body.

“Internal Collection” garments based on anatomy by Amy Karle, 2017 photographer: Celeste Wyrick

“Internal Collection” Amy Karle, 2017 Silk, polyester, cotton, silver, natural and synthetic fibers. “Internal Collection” represents internal anatomy in external wearable form created by hand and digital manufacturing technologies that can be used in healthcare. Merging anatomy, fashion, and technology, the pieces are created from anatomical style drawings into digital designs (CAD), then laser cut pattern pieces and finally hand and machine sewn garments. By depicting designs inspired by anatomy, this work communicates that when we share our likeness and what is going on inside of us, it offers an opportunity for finding beauty within ourselves and connection with others. www.amykarle.com © 2017 Amy Karle and © 2017 Conceptual Art Technologies. Photo by: Celeste Wyrick ___ Amy Karle is an artist and designer who uses the mind, body, science and technology to create her work. Examining both material and ethereal aspects of life, Karle’s work taps concepts of what it means to be human and in this body, expressing internal experiences in visual forms; in turn her garments inform an internal experiences of how we feel about ourselves and in our body.

“Internal Collection” garments based on anatomy by Amy Karle, 2017 photographer: Celeste Wyrick

“Internal Collection” Amy Karle, 2017 Silk, polyester, cotton, silver, natural and synthetic fibers. “Internal Collection” represents internal anatomy in external wearable form created by hand and digital manufacturing technologies that can be used in healthcare. Merging anatomy, fashion, and technology, the pieces are created from anatomical style drawings into digital designs (CAD), then laser cut pattern pieces and finally hand and machine sewn garments. By depicting designs inspired by anatomy, this work communicates that when we share our likeness and what is going on inside of us, it offers an opportunity for finding beauty within ourselves and connection with others. www.amykarle.com © 2017 Amy Karle and © 2017 Conceptual Art Technologies. Photo by: Celeste Wyrick ___ Amy Karle is an artist and designer who uses the mind, body, science and technology to create her work. Examining both material and ethereal aspects of life, Karle’s work taps concepts of what it means to be human and in this body, expressing internal experiences in visual forms; in turn her garments inform an internal experiences of how we feel about ourselves and in our body.

“Internal Collection” garments based on anatomy by Amy Karle, 2017 photographer: Celeste Wyrick

“Internal Collection” Amy Karle, 2017 Silk, polyester, cotton, silver, natural and synthetic fibers. “Internal Collection” represents internal anatomy in external wearable form created by hand and digital manufacturing technologies that can be used in healthcare. Merging anatomy, fashion, and technology, the pieces are created from anatomical style drawings into digital designs (CAD), then laser cut pattern pieces and finally hand and machine sewn garments. By depicting designs inspired by anatomy, this work communicates that when we share our likeness and what is going on inside of us, it offers an opportunity for finding beauty within ourselves and connection with others. www.amykarle.com © 2017 Amy Karle and © 2017 Conceptual Art Technologies. Photo by: Celeste Wyrick ___ Amy Karle is an artist and designer who uses the mind, body, science and technology to create her work. Examining both material and ethereal aspects of life, Karle’s work taps concepts of what it means to be human and in this body, expressing internal experiences in visual forms; in turn her garments inform an internal experiences of how we feel about ourselves and in our body.

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Dress based on cardiovascular system from Internal Collection by Amy Karle 2017

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2017_4185-Designer-Amy-Karle-Model-Sara-Staub_Photographer-Christyl-O’Flaherty

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2017_4757_Designer-Amy-Karle-models-Carla-Nicholson-and-Courtney-Williams_Photographer-Christyl-O’Flaherty

2017_4562-Designer-Amy-Karle-Model-Daeg-Faerch_Photographer-Christyl-O’Flaherty

2017_3364-Designer-Amy-Karle-models-Marco-Von-Mulbach-and-Daeg-Faerch_Photographer-Christyl-O’Flaherty

2017_3347–Designer-Amy-Karle-Models-Courtney-Williams-and-Daeg-Faerch_Photographer-Christyl-O’Flaherty

© 2016 Amy Karle © 2016 Conceptual Art Technologies

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium. Garments based on anatomy Amy Karle, 2016 Silk, polyester, cotton, natural and synthetic fibers. Wearable art garments inspired by the human nervous system, lung, and ligaments. Merging anatomy, fashion, and technology, the pieces are each created in a different method incorporating reality capture, 3D scans of the body, anatomical style drawings into digital designs (CAD), laser cut pattern pieces and finally hand and machine sewn garments. Each design had a unique approach. The “Breathe” lung dress and jumpsuit based on the nervous system was created from anatomical style drawings hand drawn by the artist then rendered into a pattern in the CAD modeling environment; the dress inspired by ligaments was derived from Verlan Dress from New Skins with Francis Bitonti Studio workshop at the Digital Arts and Humanities Research Centre of the Pratt Institute in New York that wrapped form around the body in 3D digital environment which the artist custom fit to a 3D body scan and flattened into flat pattern pieces in order to laser cut and construct out of soft material. In the process of making these pieces, Artist Amy Karle addresses current industrial challenges of: utilizing 3D scanning to create custom fit patterns and garments, unwrapping and flattening complex CAD patterns in the digital environment, advanced pattern making in 3D digital environments into real-world soft goods, and creating zero and low-waste fashion designs.

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2003 gowns by Amy Karle couture fashion spread

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Pepakura Fine Art Couture Gown by Amy Karle and Micheal Koehle, 2016

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Fine Art Couture Gown by Amy Karle and Micheal Koehle, 2016

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Fine Art Couture Gown by Amy Karle and Micheal Koehle, 2016

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Fine Art Couture Gown by Amy Karle and Micheal Koehle, 2016

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Fine Art Couture Gown by Amy Karle and Micheal Koehle, 2016

Pepakura Haute Couture Gown by Amy Karle, 2016

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund Shoes United Nude

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund Shoes United Nude

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund Shoes United Nude

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund Shoes United Nude

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund Shoes United Nude

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund Shoes United Nude

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund Shoes United Nude

Pepakura Haute Couture Gown by Amy Karle, 2016 Pattern Collaboration with Michael Koehle, Model Hannah Tribolet Photographer Christyl O’Flaherty Lead Makeup Kevin Lim Hair Nikeshia Blount and Janene Asplund

2009 reprocessed Meat Dress by Amy Karle sculpture fashion websize

2009 reprocessed Meat Dress by Amy Karle detail websize

Cloud ConsciousnessInteractive Public Art Sculpture by Amy Karle and Ben Julian2015

Cloud Consciousness Interactive Public Art Sculpture Acrylic, Mixed Media, New Media, Video 2015 “Cloud Consciousness” is a 20’x18’x18’ interactive sculpture of a faceted translucent acrylic human head that transforms with participant input. Using a smartphone or device, participants are prompted to take a picture of their self or control imagery and sound. The image is then translated onto the sculpture using projection mapping, illuminating the crystalline cast glass aesthetic. There is no individual identity to the sculpture; its nondescript expression rests in peaceful contemplation lit from within as if in a dream state. The aesthetic of the projected imagery is always in flux, transitioning between participant face forms, patterns, objects or video art running continuously day and night. The multitude of changing faces represent the many people perpetually in motion crossing the installation site of Embarcadero x Market in San Francisco, California; historically one of the busiest intersections in the world. There is an option to interact with this piece on site or remotely and other artists may apply to showcase their programs or artwork on the head, becoming a platform for continual collaboration. Inspired by interconnectivity models, “Cloud Consciousness” reflects our techno-centric culture, social media and selfie culture in one memorable, interactive experience while integrating digital interactivity and physical form in a visually stunning way. This large-scale interactive public art sculpture was created for Autodesk’s Edge Condition at Pier 9: The Future of Making Things in collaboration with sculptor Benjamin Julian (responsible for the material fabrication). This rendering shows the scale and placement of the public art on site, the transition from day to night and what the sculpture could look like with interactive imagery projected in it. This rendering used Google’s House of Card’s interactive data viewer and open source cod

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2002_05 Dislocation installation art by Amy Karle mask with hole showing mirrored video

2002 Dislocation detail face mask installation with video art by Amy Karle

2002 Dislocation 03 installation by Amy Karle

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2002 Dislocation 04 installation by Amy Karle-edited

2002 Dislocation 01 installation by Amy Karle

2002 Dislocation 02 installation by Amy Karle

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2002 Dislocation 05 installation by Amy Karle sideview

2002_05 Dislocation installation masks side view and inside art by Amy Karle-edited

2002 Valentines day 01 installation performance and video art by Amy Karle

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2002 Valentines day 05 installation performance and video art by Amy Karle

2002 Valentines day 04 installation performance and video art by Amy Karle

2002 Valentines day 03 installation performance and video art by Amy Karle

2002 Valentines day 02 installation performance and video art by Amy Karle

What Remains by Amy Karle2001

What Remains 2001 Installation, Performance by Amy Karle Each viewer enters this piece alone through a narrow dark hallway provided with only a candle for illumination. The hallway curves and opens to a dark, humid water-filled chamber. Obscuring the viewer from immediate revelation, the dim, dense atmosphere creates a curious period of sense adjustment, eventually yielding several fleshy female body parts (made from direct molds of Amy Karle’s body) disintegrating into silt in a pool of steaming hot water. Upon further exploration with the candle, the viewer can catch glimpses of Amy Karle’s real body mingled within the pile of fragmented torsos. Throughout this piece the viewer is continually questioning: What is real? What is not real? What is being concealed? What is being revealed? What is in composition and what is decomposing? No resolve could be found until all the bodies of unfired clay had disintegrated over a period of 4.5 hours and only one remained: the Artists body.

What Remains by Amy Karle2001

What Remains 2001 Installation, Performance by Amy Karle Each viewer enters this piece alone through a narrow dark hallway provided with only a candle for illumination. The hallway curves and opens to a dark, humid water-filled chamber. Obscuring the viewer from immediate revelation, the dim, dense atmosphere creates a curious period of sense adjustment, eventually yielding several fleshy female body parts (made from direct molds of Amy Karle’s body) disintegrating into silt in a pool of steaming hot water. Upon further exploration with the candle, the viewer can catch glimpses of Amy Karle’s real body mingled within the pile of fragmented torsos. Throughout this piece the viewer is continually questioning: What is real? What is not real? What is being concealed? What is being revealed? What is in composition and what is decomposing? No resolve could be found until all the bodies of unfired clay had disintegrated over a period of 4.5 hours and only one remained: the Artists body.

What Remains by Amy Karle2001

What Remains 2001 Installation, Performance by Amy Karle Each viewer enters this piece alone through a narrow dark hallway provided with only a candle for illumination. The hallway curves and opens to a dark, humid water-filled chamber. Obscuring the viewer from immediate revelation, the dim, dense atmosphere creates a curious period of sense adjustment, eventually yielding several fleshy female body parts (made from direct molds of Amy Karle’s body) disintegrating into silt in a pool of steaming hot water. Upon further exploration with the candle, the viewer can catch glimpses of Amy Karle’s real body mingled within the pile of fragmented torsos. Throughout this piece the viewer is continually questioning: What is real? What is not real? What is being concealed? What is being revealed? What is in composition and what is decomposing? No resolve could be found until all the bodies of unfired clay had disintegrated over a period of 4.5 hours and only one remained: the Artists body.

What Remains by Amy Karle2001

What Remains 2001 Installation, Performance by Amy Karle Each viewer enters this piece alone through a narrow dark hallway provided with only a candle for illumination. The hallway curves and opens to a dark, humid water-filled chamber. Obscuring the viewer from immediate revelation, the dim, dense atmosphere creates a curious period of sense adjustment, eventually yielding several fleshy female body parts (made from direct molds of Amy Karle’s body) disintegrating into silt in a pool of steaming hot water. Upon further exploration with the candle, the viewer can catch glimpses of Amy Karle’s real body mingled within the pile of fragmented torsos. Throughout this piece the viewer is continually questioning: What is real? What is not real? What is being concealed? What is being revealed? What is in composition and what is decomposing? No resolve could be found until all the bodies of unfired clay had disintegrated over a period of 4.5 hours and only one remained: the Artists body.

Divided-FeaturedImage

DividedAmy Karle 2001

Divided 2001 Performance, Video, Prints from Video Stills In “Divided” Amy Karle is several girls and one girl simultaneously, trapped in states of play, death, and play in death. The performance plays with the object/subject dissolve: death as the experience of the sublime; depicting an ego which is simultaneously surrendered and embraced to glance bliss and understand its’ ultimate place within the universe.

DividedAmy Karle 2001

Divided 2001 Performance, Video, Prints from Video Stills In “Divided” Amy Karle is several girls and one girl simultaneously, trapped in states of play, death, and play in death. The performance plays with the object/subject dissolve: death as the experience of the sublime; depicting an ego which is simultaneously surrendered and embraced to glance bliss and understand its’ ultimate place within the universe.

DividedAmy Karle 2001

Divided 2001 Performance, Video, Prints from Video Stills In “Divided” Amy Karle is several girls and one girl simultaneously, trapped in states of play, death, and play in death. The performance plays with the object/subject dissolve: death as the experience of the sublime; depicting an ego which is simultaneously surrendered and embraced to glance bliss and understand its’ ultimate place within the universe.

DividedAmy Karle 2001

Divided 2001 Performance, Video, Prints from Video Stills In “Divided” Amy Karle is several girls and one girl simultaneously, trapped in states of play, death, and play in death. The performance plays with the object/subject dissolve: death as the experience of the sublime; depicting an ego which is simultaneously surrendered and embraced to glance bliss and understand its’ ultimate place within the universe.

2001_09 Divided07 performance art by Amy Karle video still

2001_09 Divided06 performance art by Amy Karle video still

Introspectionby Amy Karle2001

Introspection Performance, Video 2001 Three videos of Amy Karle veiling and unveiling her face, ice melting, and struggling to swim out of entangled cloths that are wrapped around her body becoming more entangled the more she struggles were fed into sound and video of a live performance of the Artist reading from texts backwards. The sound controlled the mixing in the live-feed loop system. Acting and reacting to the sound reflexively, the Artist’s intuitive logic was revealed: “My self goes wild as my body realizes its’ limitations. I want to bring the viewer deep inside this cavity and feel my search for liberation through the imposition of external constraints.” (A. Karle) This piece asks: What desires drive us and what place do we expect to arrive at? What limits us and what frees us? Who are the characters in our mind and those we have constructed? What do we show to the world? Is there ever really a difference? Created in real time at the Experimental Television Center and edited at The Institute for Electronic Arts.

Introspectionby Amy Karle2001

Introspection Performance, Video 2001 Three videos of Amy Karle veiling and unveiling her face, ice melting, and struggling to swim out of entangled cloths that are wrapped around her body becoming more entangled the more she struggles were fed into sound and video of a live performance of the Artist reading from texts backwards. The sound controlled the mixing in the live-feed loop system. Acting and reacting to the sound reflexively, the Artist’s intuitive logic was revealed: “My self goes wild as my body realizes its’ limitations. I want to bring the viewer deep inside this cavity and feel my search for liberation through the imposition of external constraints.” (A. Karle) This piece asks: What desires drive us and what place do we expect to arrive at? What limits us and what frees us? Who are the characters in our mind and those we have constructed? What do we show to the world? Is there ever really a difference? Created in real time at the Experimental Television Center and edited at The Institute for Electronic Arts.

2001 Introspection 09 video art and performance by Amy Karle

2001 Introspection 07 video art and performance by Amy Karle

2001 Introspection 06 video art and performance by Amy Karle

2001 Introspection 05 video art and performance by Amy Karle

2001 Introspection 04 video art and performance by Amy Karle

2001 Introspection 03 video art and performance by Amy Karle

“Valentine Video” by Amy Karle 2001

Valentine Video 2001 Performance, Video Video documentation of Amy Karle cutting off portions of her hair on St. Valentine’s Day for every person whom had given themselves to her. Without prior knowledge of this act, the Artist left this piece of herself in addition to a copy of the video as a “valentine” for each of them. The remaining portion of hair was donated to Locks of Love, a charity providing hairpieces to children with medical hair loss. In honor of Judy Karle.

“Valentine Video” by Amy Karle 2001

Valentine Video 2001 Performance, Video Video documentation of Amy Karle cutting off portions of her hair on St. Valentine’s Day for every person whom had given themselves to her. Without prior knowledge of this act, the Artist left this piece of herself in addition to a copy of the video as a “valentine” for each of them. The remaining portion of hair was donated to Locks of Love, a charity providing hairpieces to children with medical hair loss. In honor of Judy Karle.

“Valentine Video” by Amy Karle 2001

Valentine Video 2001 Performance, Video Video documentation of Amy Karle cutting off portions of her hair on St. Valentine’s Day for every person whom had given themselves to her. Without prior knowledge of this act, the Artist left this piece of herself in addition to a copy of the video as a “valentine” for each of them. The remaining portion of hair was donated to Locks of Love, a charity providing hairpieces to children with medical hair loss. In honor of Judy Karle.

“Valentine Video” by Amy Karle 2001

Valentine Video 2001 Performance, Video Video documentation of Amy Karle cutting off portions of her hair on St. Valentine’s Day for every person whom had given themselves to her. Without prior knowledge of this act, the Artist left this piece of herself in addition to a copy of the video as a “valentine” for each of them. The remaining portion of hair was donated to Locks of Love, a charity providing hairpieces to children with medical hair loss. In honor of Judy Karle.

“Inscription” by Amy Karle, 2001 (video stills)

Inscription by Amy Karle 2001 Performance, Video, Video Installation Considering theories of punishment that shape the self and the ways in which one carries those impressions that have been made upon them, this work is in constant flux between inside to outside, self-criticism to external criticism, control to lack of control, comfort and pleasure to fear and pain. This fluctuation pulls the viewer towards realizing that which is human construction is the first step in achieving freedom. Artist Amy Karle sectioned off the body by measurement and ‘inscribed’ on it. Simultaneously, an analog video of this performance was fed into a video of shapes similar to those inscribed on the body in real-time with voice-driven image mixing, so that all of the elements worked together to create a video which unfolded as the performance progressed. The narrative is a whispering voice in constant transfer from the inward, private voice (voice inside our head) to the publicly imposed (outside forces). The sound reflexively controls the image in sections, and the image controls the sound in places. The use of the ruler to measure the body depicts the constant doubtful “measuring up” that persons impose on themselves. The cutting-out displays the ways we attempt to fit our self into social and normative constructs and circles. As the video shows, this does not and cannot always occur. At times, the body claims the entire image, and at other times, the shapes take over. This come-and-go of the sound-video relationship displays the hierarchy of distortion both emotionally and electronically. The work seemingly comes to a close, or end, then comes back with a vengeance, as the cycle of guilt and self-punishment continues. Amy Karle collaborated with Aaron Miller (geometric shapes video) and Annie Fieldmeier (voice) to create this video at the Experimental Television Center.

“Inscription” by Amy Karle, 2001 (video stills)

Inscription by Amy Karle 2001 Performance, Video, Video Installation Considering theories of punishment that shape the self and the ways in which one carries those impressions that have been made upon them, this work is in constant flux between inside to outside, self-criticism to external criticism, control to lack of control, comfort and pleasure to fear and pain. This fluctuation pulls the viewer towards realizing that which is human construction is the first step in achieving freedom. Artist Amy Karle sectioned off the body by measurement and ‘inscribed’ on it. Simultaneously, an analog video of this performance was fed into a video of shapes similar to those inscribed on the body in real-time with voice-driven image mixing, so that all of the elements worked together to create a video which unfolded as the performance progressed. The narrative is a whispering voice in constant transfer from the inward, private voice (voice inside our head) to the publicly imposed (outside forces). The sound reflexively controls the image in sections, and the image controls the sound in places. The use of the ruler to measure the body depicts the constant doubtful “measuring up” that persons impose on themselves. The cutting-out displays the ways we attempt to fit our self into social and normative constructs and circles. As the video shows, this does not and cannot always occur. At times, the body claims the entire image, and at other times, the shapes take over. This come-and-go of the sound-video relationship displays the hierarchy of distortion both emotionally and electronically. The work seemingly comes to a close, or end, then comes back with a vengeance, as the cycle of guilt and self-punishment continues. Amy Karle collaborated with Aaron Miller (geometric shapes video) and Annie Fieldmeier (voice) to create this video at the Experimental Television Center.

“Inscription” by Amy Karle, 2001 (video stills)

Inscription by Amy Karle 2001 Performance, Video, Video Installation Considering theories of punishment that shape the self and the ways in which one carries those impressions that have been made upon them, this work is in constant flux between inside to outside, self-criticism to external criticism, control to lack of control, comfort and pleasure to fear and pain. This fluctuation pulls the viewer towards realizing that which is human construction is the first step in achieving freedom. Artist Amy Karle sectioned off the body by measurement and ‘inscribed’ on it. Simultaneously, an analog video of this performance was fed into a video of shapes similar to those inscribed on the body in real-time with voice-driven image mixing, so that all of the elements worked together to create a video which unfolded as the performance progressed. The narrative is a whispering voice in constant transfer from the inward, private voice (voice inside our head) to the publicly imposed (outside forces). The sound reflexively controls the image in sections, and the image controls the sound in places. The use of the ruler to measure the body depicts the constant doubtful “measuring up” that persons impose on themselves. The cutting-out displays the ways we attempt to fit our self into social and normative constructs and circles. As the video shows, this does not and cannot always occur. At times, the body claims the entire image, and at other times, the shapes take over. This come-and-go of the sound-video relationship displays the hierarchy of distortion both emotionally and electronically. The work seemingly comes to a close, or end, then comes back with a vengeance, as the cycle of guilt and self-punishment continues. Amy Karle collaborated with Aaron Miller (geometric shapes video) and Annie Fieldmeier (voice) to create this video at the Experimental Television Center.

“Inscription” by Amy Karle, 2001 (video stills)

Inscription by Amy Karle 2001 Performance, Video, Video Installation Considering theories of punishment that shape the self and the ways in which one carries those impressions that have been made upon them, this work is in constant flux between inside to outside, self-criticism to external criticism, control to lack of control, comfort and pleasure to fear and pain. This fluctuation pulls the viewer towards realizing that which is human construction is the first step in achieving freedom. Artist Amy Karle sectioned off the body by measurement and ‘inscribed’ on it. Simultaneously, an analog video of this performance was fed into a video of shapes similar to those inscribed on the body in real-time with voice-driven image mixing, so that all of the elements worked together to create a video which unfolded as the performance progressed. The narrative is a whispering voice in constant transfer from the inward, private voice (voice inside our head) to the publicly imposed (outside forces). The sound reflexively controls the image in sections, and the image controls the sound in places. The use of the ruler to measure the body depicts the constant doubtful “measuring up” that persons impose on themselves. The cutting-out displays the ways we attempt to fit our self into social and normative constructs and circles. As the video shows, this does not and cannot always occur. At times, the body claims the entire image, and at other times, the shapes take over. This come-and-go of the sound-video relationship displays the hierarchy of distortion both emotionally and electronically. The work seemingly comes to a close, or end, then comes back with a vengeance, as the cycle of guilt and self-punishment continues. Amy Karle collaborated with Aaron Miller (geometric shapes video) and Annie Fieldmeier (voice) to create this video at the Experimental Television Center.

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“Inscription” by Amy Karle, 2001 (video stills)

Inscription by Amy Karle 2001 Performance, Video, Video Installation Considering theories of punishment that shape the self and the ways in which one carries those impressions that have been made upon them, this work is in constant flux between inside to outside, self-criticism to external criticism, control to lack of control, comfort and pleasure to fear and pain. This fluctuation pulls the viewer towards realizing that which is human construction is the first step in achieving freedom. Artist Amy Karle sectioned off the body by measurement and ‘inscribed’ on it. Simultaneously, an analog video of this performance was fed into a video of shapes similar to those inscribed on the body in real-time with voice-driven image mixing, so that all of the elements worked together to create a video which unfolded as the performance progressed. The narrative is a whispering voice in constant transfer from the inward, private voice (voice inside our head) to the publicly imposed (outside forces). The sound reflexively controls the image in sections, and the image controls the sound in places. The use of the ruler to measure the body depicts the constant doubtful “measuring up” that persons impose on themselves. The cutting-out displays the ways we attempt to fit our self into social and normative constructs and circles. As the video shows, this does not and cannot always occur. At times, the body claims the entire image, and at other times, the shapes take over. This come-and-go of the sound-video relationship displays the hierarchy of distortion both emotionally and electronically. The work seemingly comes to a close, or end, then comes back with a vengeance, as the cycle of guilt and self-punishment continues. Amy Karle collaborated with Aaron Miller (geometric shapes video) and Annie Fieldmeier (voice) to create this video at the Experimental Television Center.

“Inscription” by Amy Karle, 2001 (video stills)

Inscription by Amy Karle 2001 Performance, Video, Video Installation Considering theories of punishment that shape the self and the ways in which one carries those impressions that have been made upon them, this work is in constant flux between inside to outside, self-criticism to external criticism, control to lack of control, comfort and pleasure to fear and pain. This fluctuation pulls the viewer towards realizing that which is human construction is the first step in achieving freedom. Artist Amy Karle sectioned off the body by measurement and ‘inscribed’ on it. Simultaneously, an analog video of this performance was fed into a video of shapes similar to those inscribed on the body in real-time with voice-driven image mixing, so that all of the elements worked together to create a video which unfolded as the performance progressed. The narrative is a whispering voice in constant transfer from the inward, private voice (voice inside our head) to the publicly imposed (outside forces). The sound reflexively controls the image in sections, and the image controls the sound in places. The use of the ruler to measure the body depicts the constant doubtful “measuring up” that persons impose on themselves. The cutting-out displays the ways we attempt to fit our self into social and normative constructs and circles. As the video shows, this does not and cannot always occur. At times, the body claims the entire image, and at other times, the shapes take over. This come-and-go of the sound-video relationship displays the hierarchy of distortion both emotionally and electronically. The work seemingly comes to a close, or end, then comes back with a vengeance, as the cycle of guilt and self-punishment continues. Amy Karle collaborated with Aaron Miller (geometric shapes video) and Annie Fieldmeier (voice) to create this video at the Experimental Television Center.

“Inscription” by Amy Karle, 2001 (video stills)

Inscription by Amy Karle 2001 Performance, Video, Video Installation Considering theories of punishment that shape the self and the ways in which one carries those impressions that have been made upon them, this work is in constant flux between inside to outside, self-criticism to external criticism, control to lack of control, comfort and pleasure to fear and pain. This fluctuation pulls the viewer towards realizing that which is human construction is the first step in achieving freedom. Artist Amy Karle sectioned off the body by measurement and ‘inscribed’ on it. Simultaneously, an analog video of this performance was fed into a video of shapes similar to those inscribed on the body in real-time with voice-driven image mixing, so that all of the elements worked together to create a video which unfolded as the performance progressed. The narrative is a whispering voice in constant transfer from the inward, private voice (voice inside our head) to the publicly imposed (outside forces). The sound reflexively controls the image in sections, and the image controls the sound in places. The use of the ruler to measure the body depicts the constant doubtful “measuring up” that persons impose on themselves. The cutting-out displays the ways we attempt to fit our self into social and normative constructs and circles. As the video shows, this does not and cannot always occur. At times, the body claims the entire image, and at other times, the shapes take over. This come-and-go of the sound-video relationship displays the hierarchy of distortion both emotionally and electronically. The work seemingly comes to a close, or end, then comes back with a vengeance, as the cycle of guilt and self-punishment continues. Amy Karle collaborated with Aaron Miller (video) and Annie Fieldmeier (voice) to create this video at the Experimental Television Center.

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“Double Talk” by Amy Karle 2001

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

“Double Talk” by Amy Karle 2001

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

“Double Talk” by Amy Karle 2001

Amy Karle is an artist who uses the mind, body, science and technology to create art. Karle’s artwork taps our ideas of what it means to be human and in this body, expressing internal, ephemeral experiences in visual forms. Working across a variety of platforms she engages questions about what it means to be human by creating projects on, around, or about the body; it is the subject and the medium.

Melting Away, 2000

Melting Away 2000 Three frozen hearts of meat and wine atop satin and cotton pillows melted over time, leaving only a stain. The hearts were formed from meat and wine frozen into a mold of a sheep heart of similar mass and size as the Artist Amy Karle’s heart then allowed to thaw on the pillow top. This piece continues beyond the melting process with the deterioration of the pillow faces from residual bacteria and mold. Although the life of the heart is short, it is remembered by the stain that it left behind.

Melting Away, 2000

Melting Away 2000 Three frozen hearts of meat and wine atop satin and cotton pillows melted over time, leaving only a stain. The hearts were formed from meat and wine frozen into a mold of a sheep heart of similar mass and size as the Artist Amy Karle’s heart then allowed to thaw on the pillow top. This piece continues beyond the melting process with the deterioration of the pillow faces from residual bacteria and mold. Although the life of the heart is short, it is remembered by the stain that it left behind.

Melting Away, 2000

Melting Away 2000 Three frozen hearts of meat and wine atop satin and cotton pillows melted over time, leaving only a stain. The hearts were formed from meat and wine frozen into a mold of a sheep heart of similar mass and size as the Artist Amy Karle’s heart then allowed to thaw on the pillow top. This piece continues beyond the melting process with the deterioration of the pillow faces from residual bacteria and mold. Although the life of the heart is short, it is remembered by the stain that it left behind.

Melting Away, 2000

Melting Away 2000 Three frozen hearts of meat and wine atop satin and cotton pillows melted over time, leaving only a stain. The hearts were formed from meat and wine frozen into a mold of a sheep heart of similar mass and size as the Artist Amy Karle’s heart then allowed to thaw on the pillow top. This piece continues beyond the melting process with the deterioration of the pillow faces from residual bacteria and mold. Although the life of the heart is short, it is remembered by the stain that it left behind.

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