also see MisguidedMachines
The Plan
This piece is meant to portray the feeling of being as becoming. I want to evoke a feeble, pathetic, WabiSabi setting, in which lies a creature so tenuously grasping life that its energy is always in stasis. The energy required to fully become would shatter it.
At first, you see a rag-tag wooden box - perhaps some cardboard, tape, bent nails - attached to a deformed glass egg or womb by an umbilical-like rubber tube. This tube inflates and deflates a rubber sac within the glass.
Upon closer inspection, you notice a peephole into the box, and see inside a feebly lit "room" with a small patch of wet, matted fur in the corner, expanding and deflating as if breathing air into and out of that rubber sac through the umbilical chord.
The lighting is like this:
And the matted fur is pathetic and anthropomorphized like 
Jon PYLYPCHUK's work:
The Project
Watch the movie here or see it on plankd.
DmFishRedux
Related Work
Vivifying manufactured animals in pathetic and obvious ways, using optics to put on a show whose "backstage" is revealed, DIY aesthetic
Catherine Richards, Charged Gearts
Hans Bellmer
"The Surrealist fascination with automata, especially the uncanny dread produced by their dubious animate/inanimate status, prepared the way for the enthusiastic reception in France of Bellmer's doll" -
Andro Wekua
http://www.likeyou.com/artistsbios/gfx.php?id=3592
Huma Bhabha
Working with found materials and constructed forms, Huma Bhabha reworks the familiarity of everyday objects into creepy inventions...Laying bare her media and their function, Bhabha infuses her work with suggestive narratives.-
She has written of materials as... 'Huma Bhabha body parts waiting to be Golemized' -PS1 Greater New York 2005 Book, p78
Kristof Kintera
"Kristof Kintera presents his mechanical domestic "animal". Using small engines of old household appliances, Kristof Kintera provides the viewer with new organic forms. Even though they comply with ergonomic standards fixed by modern design, they fulfil no function whatsoever." -
JiriCernicky
Bruised Flower
Ian Burns
"Ian Burns's work focuses on the relationship between art viewing and technology. Burns responds to the enforced passivity of contemporary media culture by constructing makeshift viewing apparatuses that place the spectator in front of fleeting, quasi-narrative scenes that simultaneously reveal their "backstage effects." Adopting techniques from Enlightenment science displays, Burns appeals to our sense of curiosity and to our narrative drive while refusing to let us "sit back and enjoy the show... Burns interest in film noir's self-conscious staging... there is no single reality, these thaters suggest, only the provisional truths and fleeting constellations that make up the world we experience... Ultimately, Burns's machines seek to expose the inner workings of both making and seeing and to stimulate, in this way, the creative impulse behind the most rudimentary, as well as the most elaborate, of forms." - PS1 Greater New York 2005, p 100.
Peter Caine
