Gracelee Lawrence’s work in SATURATED DATA ORACLES focuses on labor centered in the hand - agricultural, technical, and digital - through sculptures that morph scans of the artist’s body with complex surface information into materially dense objects. Across copper, resin, and 3D-printed forms, the work leverages the errors, gaps, and distortions that emerge as physical bodies and tactile labor are translated through digital processes.
In this work, drawing becomes embedded within the 3D-printed forms themselves. Rather than functioning as images applied to a surface, the drawings extend into the objects, becoming part of their coded physical structure. Grids are mapped across organic forms, while images of the artist’s hand holding produce they grew and stewarded are integrated into the sculptures. Irregularities in 3D scans of the body are highlighted and amplified, connecting the body to edible plants and bringing together processes of growth, labor, touch, and nutrition.
The sculptures are placed within a sinuous grid that disrupts the right-angled architecture of the gallery, shifting the basis of perception. The surfaces and internal structures of the objects are generated through digital processes that retain traces of both the scanned body and the agricultural materials that inform the work. The resulting objects occupy a space between image and sculpture, body and plant, physical labor and digital translation.
A chapbook accompanying the exhibition will include a catalog essay by art historian Theo Triandos.
Please join us for an opening reception on October 14, 2026, from 5–6:30 PM at Handwerker Gallery. An artist talk will be held November 3, 2026, at 5 PM.
This work was supported by the AI & Society Research Center at the University at Albany through the 2026–2027 AI & Society Research Fellows Program.
