Mizaru 3D
Quote from CohentheWriter on 18. September 2022, 6:40Museum Link: https://app.museumofcryptoart.com/collection/the-permanent-collection?collection=0xfbeef911dc5821886e1dda71586d90ed28174b7d&token=337403&page=5
Source Link: https://knownorigin.io/gallery/337400-mizaru-3-d
Date Minted: April 8, 2021
Artist Description: Mizzaru is one of the three wise monkeys. She Sees no evil by covering her ears. This is an interactive 3D model with a hand-painted, plastic finish. In Japanese legend, the Sanshi are the Three Corpses or worms, living inside everyone's body. The Sanshi keep track of the good deeds and particularly the bad deeds of the person they inhabit. They report these deeds to the god, Ten-Tei. The three wise monekys caused the Sanshi and, ultimately, the god, Ten-Tei not to see, say or hear the bad deeds of a person. Protecting them from judgement or persecution.
CohentheWriter’s Commentary:
Rarely can you get a sense of an artist’s entire history solely through the feel of their artwork. I mean, yes, you can understand a sensibility, a perspective perhaps, and certain preferences, but if you were, say, to find something as specific as a punk rock legacy, or a feminist ideology coursing through the veins of an artist’s collected works, you’d have stumbled upon something special. Rejoice! Friends! We have stumbled upon something special indeed! Angie Taylor, the decorated artist —and crypto artist since the early days— has an eclectic style, a bold eye for the human form, and just the kind of well-defined sensibility I’ve described above. Her art as electric as her punk rock ideology, Taylor’s breadth style is captured incredibly well in the piece before us today, Mizaru 3D, “one of the three wise monkeys,” Taylor has created, along with Kikazaru and Iwazaru, both of which can be seen in their 2D and 3D variants on KnownOrigin. Mizaru 3D “Sees no evil by covering her ears…In Japanese legend, the Sanshi are the Three Corpses or worms, living inside everyone's body. The Sanshi keep track of the good deeds and particularly the bad deeds of the person they inhabit. They report these deeds to the god, Ten-Tei. The three wise monekys [sic] caused the Sanshi and, ultimately, the god, Ten-Tei not to see, say or hear the bad deeds of a person. Protecting them from judgement [sic] or persecution.” Outside of the piece’s fascinating history, Mizaru 3D proves an idiosyncratic 3D sculpture of the type that only Taylor makes: big features, off-putting details, and an ubiquitous vulnerability. What a piece. And it’s interactive! Explorers of art, explore away.
And please don’t let the deceptively simple aesthetics of Mizaru 3D distract you from the bevy of ideas at play here. The object of Taylor’s affection and artistry here is a female figure, tan of skin and purple of hair. If you can even call it hair. One of Taylor’s hallmarks is extrapolating otherwise unextraordinary human features into bizarre objects that call our attention. With Mizaru 3D, we can start at the top. At one of two mops of purple “hair” that stream off of the woman’s body. The hair in both spots —on top of head and in a squiggling mound between legs— has a wormlike quality to it, almost akin to dreadlocks but short and poking straight out as if electrified. Captured in a bright purple hue, like a Willy Wonka candy. Thick in some spots, like a bed of writhing maggots, and thin in other spots, a few polyps of hair stuck over a smooth pink top-of-skull. On top of head, the hair is weird. Between legs, it looks almost diseased, an effect both of the texture and the color. It exists also on the eyebrows. The hair is among the first strange affectations we observe, but no less strange is the crazy, Joker-like smile that extends the length of the woman’s face. In fact, it’s the only facial feature of note we can really see here, what with the way the woman’s hands —huge— obscure most of her face. A bit of a hanging nose, but there’s that mouth, those bright red lips, the jagged shark-like teeth, and the web of purple coloring behind it; all convey a strange, sickly, macabre sensation. The only clothing the woman wears are two large hoop earrings of a muted gold; otherwise, she’s completely nude, her nipples protruding, her skin covered in a glossy, almost porcelain sheen. Interactive, as mentioned, we can zoom in to basically any part of the woman’s body and inspect in great detail her various bizarre attributes. And because we can, of course we do. The nature of the piece makes us voyeurs. The details themselves make us somewhat squeamish, and more so the closer we zoom into them. How can we resist?
The woman, thankfully, can’t see us, what with her eyes covered. Is Taylor hiding her from us, or more importantly, is she hiding us from her creation? Perhaps it’s she who needs sheltering from us and our interrogative gazes, the way we haphazardly spin the piece around and inspect her as if for defects, and crucially, the way we make judgments about her attributes. We find her hair weird, her lips weird, her nose too large and her nipples too erect, but if she can’t see us, we can’t hurt her. And thus, perhaps we feel a sense of guilt for doing to this woman what we believe is our automatic —albeit assumed— right and our purview. But we look at that eyeless face, that twisted and forced smile, and might we have stumbled upon a potent commentary about the way we treat female figures of our interest: as objects to be inspected, like horses at an auction; let’s see those teeth. To be an art object is to be an object, to be at the mercy of invisible observers, whatever our intentions may be.
Think of this the next time you stumble upon a nude photograph of a woman on your Twitter, the next time a human figure is reduced to an object of artistry in front of you, something to be gazed upon from our untouchable perch, unable to see back at the eyes glaring, intense, at her from the other side of a screen.
Source Link: https://knownorigin.io/gallery/337400-mizaru-3-d
Date Minted: April 8, 2021
Artist Description: Mizzaru is one of the three wise monkeys. She Sees no evil by covering her ears. This is an interactive 3D model with a hand-painted, plastic finish. In Japanese legend, the Sanshi are the Three Corpses or worms, living inside everyone's body. The Sanshi keep track of the good deeds and particularly the bad deeds of the person they inhabit. They report these deeds to the god, Ten-Tei. The three wise monekys caused the Sanshi and, ultimately, the god, Ten-Tei not to see, say or hear the bad deeds of a person. Protecting them from judgement or persecution.
CohentheWriter’s Commentary:
Rarely can you get a sense of an artist’s entire history solely through the feel of their artwork. I mean, yes, you can understand a sensibility, a perspective perhaps, and certain preferences, but if you were, say, to find something as specific as a punk rock legacy, or a feminist ideology coursing through the veins of an artist’s collected works, you’d have stumbled upon something special. Rejoice! Friends! We have stumbled upon something special indeed! Angie Taylor, the decorated artist —and crypto artist since the early days— has an eclectic style, a bold eye for the human form, and just the kind of well-defined sensibility I’ve described above. Her art as electric as her punk rock ideology, Taylor’s breadth style is captured incredibly well in the piece before us today, Mizaru 3D, “one of the three wise monkeys,” Taylor has created, along with Kikazaru and Iwazaru, both of which can be seen in their 2D and 3D variants on KnownOrigin. Mizaru 3D “Sees no evil by covering her ears…In Japanese legend, the Sanshi are the Three Corpses or worms, living inside everyone's body. The Sanshi keep track of the good deeds and particularly the bad deeds of the person they inhabit. They report these deeds to the god, Ten-Tei. The three wise monekys [sic] caused the Sanshi and, ultimately, the god, Ten-Tei not to see, say or hear the bad deeds of a person. Protecting them from judgement [sic] or persecution.” Outside of the piece’s fascinating history, Mizaru 3D proves an idiosyncratic 3D sculpture of the type that only Taylor makes: big features, off-putting details, and an ubiquitous vulnerability. What a piece. And it’s interactive! Explorers of art, explore away.
And please don’t let the deceptively simple aesthetics of Mizaru 3D distract you from the bevy of ideas at play here. The object of Taylor’s affection and artistry here is a female figure, tan of skin and purple of hair. If you can even call it hair. One of Taylor’s hallmarks is extrapolating otherwise unextraordinary human features into bizarre objects that call our attention. With Mizaru 3D, we can start at the top. At one of two mops of purple “hair” that stream off of the woman’s body. The hair in both spots —on top of head and in a squiggling mound between legs— has a wormlike quality to it, almost akin to dreadlocks but short and poking straight out as if electrified. Captured in a bright purple hue, like a Willy Wonka candy. Thick in some spots, like a bed of writhing maggots, and thin in other spots, a few polyps of hair stuck over a smooth pink top-of-skull. On top of head, the hair is weird. Between legs, it looks almost diseased, an effect both of the texture and the color. It exists also on the eyebrows. The hair is among the first strange affectations we observe, but no less strange is the crazy, Joker-like smile that extends the length of the woman’s face. In fact, it’s the only facial feature of note we can really see here, what with the way the woman’s hands —huge— obscure most of her face. A bit of a hanging nose, but there’s that mouth, those bright red lips, the jagged shark-like teeth, and the web of purple coloring behind it; all convey a strange, sickly, macabre sensation. The only clothing the woman wears are two large hoop earrings of a muted gold; otherwise, she’s completely nude, her nipples protruding, her skin covered in a glossy, almost porcelain sheen. Interactive, as mentioned, we can zoom in to basically any part of the woman’s body and inspect in great detail her various bizarre attributes. And because we can, of course we do. The nature of the piece makes us voyeurs. The details themselves make us somewhat squeamish, and more so the closer we zoom into them. How can we resist?
The woman, thankfully, can’t see us, what with her eyes covered. Is Taylor hiding her from us, or more importantly, is she hiding us from her creation? Perhaps it’s she who needs sheltering from us and our interrogative gazes, the way we haphazardly spin the piece around and inspect her as if for defects, and crucially, the way we make judgments about her attributes. We find her hair weird, her lips weird, her nose too large and her nipples too erect, but if she can’t see us, we can’t hurt her. And thus, perhaps we feel a sense of guilt for doing to this woman what we believe is our automatic —albeit assumed— right and our purview. But we look at that eyeless face, that twisted and forced smile, and might we have stumbled upon a potent commentary about the way we treat female figures of our interest: as objects to be inspected, like horses at an auction; let’s see those teeth. To be an art object is to be an object, to be at the mercy of invisible observers, whatever our intentions may be.
Think of this the next time you stumble upon a nude photograph of a woman on your Twitter, the next time a human figure is reduced to an object of artistry in front of you, something to be gazed upon from our untouchable perch, unable to see back at the eyes glaring, intense, at her from the other side of a screen.