Statement

Garret Kane is a multidisciplinary artist, sculptor, and writer living between Pennsylvania and New York. His work explores the tension between nature and technology, using sculpture, digital fabrication, animation, AI, and speculative narrative to imagine new forms of life, repair, collapse, and transformation.

His practice often begins with physical material: wood, roots, found plastic, street detritus, clay-like finishes, and 3D-printed structures. Natural forms are cut, scanned, modeled, repaired, and reassembled with digitally fabricated geometry, creating objects that feel caught between the organic and the synthetic.

Recent bodies of work expand this language into artifacts, machines, and invented relics. His Recast Relics and Ceramechs series reimagines science-fiction machines as ornate ceramic objects, combining digital sculpting, 3D printing, Delftware-inspired patterning, and hand-finishing. These works treat futuristic machines like archaeological remnants from another civilization.

Across the work, Kane returns to a central question: what happens when nature and technology can no longer be separated? Found plastics embedded into root systems, mechanical forms fused with biological textures, and synthetic growths emerging from organic matter all suggest a world where the artificial is not simply rejected by nature, but absorbed, mutated, and transformed.

Writing and worldbuilding are also central to the practice. Kane’s larger creative universe includes climate fiction, speculative biology, animation, and post-human creatures that extend the sculptures beyond static objects. The work imagines relics, organisms, guardians, and machines from worlds shaped by climate collapse, corporate greed, technological overreach, and the possibility of renewal.

Ultimately, Kane’s work is about damage and repair. It looks at the systems we break, the materials we leave behind, and the strange new forms that may grow from the wreckage.