Last year I wrote a short article on the issues of building abstract LEGO creations. What happens when you try to use LEGO elements in a non-representational way, and in doing so does it tell us anything more about the way LEGO operates as a creative language?
Having set out a series of arguments about this, I decided to enlist the help of several talented builders to test my theses in a practical way. Here is what they came up with.
Shannon is a superb builder of the most unusual and innovative space creations as well as being an accomplished artist in more traditional mediums. He approached the challenge of building in the abstract form from a symbolic angle, creating three fascinating comments on social/group dynamics, love and the construction of the self. You can find more of Shannon’s work on his Flickr pager here.
A rectangular object has a binary nature: either it is standing erect (implying strength) or laying prone (implying placidity). We see a group of erect objects surrounding a prone object and questions are posed to the viewer: is the group protecting the lesser object from danger or encircling it with intend to harm whilst it is alone? Does the viewer identify with the reposed or with the group?
Romeo and Juliet
A beautiful object emerges from a nest of angry thorns. The central object represents the ill-fated lovers Romeo and Juliet, white symbolising the purity of their love for one another. A ragged divide splits the object in two, while the thorns on opposing sides (representing the two feuding families), shot red with hatred and adorned with metallic talons, scrape and gouge at one another, oblivious to the broken jewel in front of them.
Components of the Self (moving through space)
Here I am contemplating the ingredients of the Self. The light bley spine represents our body. It is the basic frame/chassis that the higher elements are further built upon. The white platform in the centre (the brain) serves as a foundation or growth medium for the Unique Attributes to affix to. These elements (in medium azure) equate to our many and curious unique traits, acquired skills and collected memories.
So the Self is the sum of the particular combination of its parts. All ‘Selves’ are unique and all have inherent value; though the scaffolding may be large, small, damaged or not, curved or straight, etc, the Unique Attributes continue to grow.
Tom has made his name in the fan community building amazing portraits as well as super-realistic objects, and a whole host of space designs. Breaking from his normal approach, he tackled the challenge through a focus on constraints and building techniques. You can find more of Tom’s work on his Flickr page here.
This piece experimented with a limited amount of LEGO elements as a way to induces an interesting creative process. I gave myself three constraints: 1) to use only transparent elements, 2) to push a little further the well known “brick/rod/brick” curved-wall technique, and 3) to achieve something with a radial symmetry.
With all that, I ended up with only one satisfying shape and here it is. This is pure geometric abstraction, and the shape is the fruit of its own internal logic, without any secret meaning or intention.
One More Dimension
My second attempt took a completely different approach: this piece is built with conventional techniques. It depicts a pair of two-dimensional paths that have to painfully break into a third dimension in order to connect.
Lego is an inspiring medium for this kind of stuff, because it provides very rigid and regular structure and palette; but I had to make it smaller than intended due to parts limitation.
My third piece started with no plan or purpose. I was just feeling the colours and working with them in a basic mosaic format.
Tim is one of the premier science fiction builders in the community, using detailed greebling to decorate huge spacecraft. For this challenge he took these skills and techniques and turned them to the task of abstract image building. You can find more of Tim’s work on his Flickr page here.
A Violent Intelligence
To be honest, when David first presented me with this challenge, I didn’t expect that it would be particularly challenging. Sometimes, when I feel my creativity has been stymied, I may pull out a large plate and build random details, or ‘greebles,’ just to tinker and explore different effects that I haven’t previously considered. In fact, I have, in the past, built an entire MOC based on just this concept. Point is, this kind of work is right up my alley.
With this MOC, however, I wanted to submit something that has the look of what was certainly crafted by my fingers, but with an aspect to which I’ve never given much thought. So I decided to build what I truly love: A science-fiction flavored piece, but with a tenuous marriage to a theme that I tend to shy away from: absolutely anything organic. I didn’t want to introduce much colour to this work, fearing that it would draw too much from the form and intention of the finished product, so I kept the organic components black. When the piece was filled in, I decided the composition was a bit drab, so I added a few splashes of yellow.
A very short time into this build, although it was never my goal to allow the work to be a realistic depiction of any singular thing, I began to feel that what was unfolding before me was a mechanical establishment of some variety which had been subverted by a life-form defined only by its instinctual survivalist tendencies. My initial reaction was to abandon my progress as I saw it starting to take on a bit too much personality, almost to the point of identity, but rather than combat this outcome that I probably could have predicted if I gave it even a second’s contemplation, I embraced it and allowed it to continue to take shape to completion.
I discovered that what I hadn’t previously considered to be a challenging undertaking, indeed had its own set of hurtles. Normally, when I’m adding greebles to a work, the task begins with defining parameters, then filling in the area with details that give the impression of mechanics, and I feel that the most effective greebles are pressed into a recessed area. In this case, the parameters are the borders of the very work itself, forcing me to stretch what is usually confined to a tight space, and all the detail of this work is above the frame, making it appear more like a circular section cut out of a whole. There is also the aspect of having to repress my need to give the viewer, (even if that viewer is me), an identifiable piece.
What I found to be the most trying aspect of this experiment, though, was having to decide that it was finished.
Despite the fact that I think it’s a bit more than strictly nonrepresentational, I’m actually pleased with the result. I have entitled the piece, ‘A Violent Intelligence.’
David has merged irreverent humour and expert engineering experience to create his own unique take on the LEGO space universe. These same skills were utilised for this experiment. You can find more of David’s work on his Flickr page here.
I made the black wall because I had a lot of the bricks and I like the pattern, texture and the way that the bricks attached to each other, on their corners. The yellow ball was an experiment with techniques but I like how it goes on the black background. The red card behind was a conscious choice.
As with so much of what I build, it’s about colour, pattern, texture and shape. A lot of my spaceships start as shapes or patterns and are really just abstract ABS sculptures that happen to have rocket engines and pilots in order to make them socially acceptable to the Lego cognoscenti on Flickr (honest!).
Caleb is an innovative builder with several strings to his bow. Most notably his experiments in portraiture have shown some truly innovative lateral piece usage, which always result in stunning creations. The only builder to utilise LDD, he ran with the automatic building aspects of abstract creation. You can find more of Caleb’s work on his Flickr pager here.
I presented this build through a pretty simple edit, and I can’t decide if I like it or not. It’s meant to look harsh, but the simplicity might work against it.
I think it is about as abstract as possible, since I had very little direction or intention while building it. I let my inner sense of connections and creativity direct how I built, following from a vague idea in my head (and sketch I made on paper beforehand).