Prof J. Sage Elwell

Contributor Information

Portrait of Elwell

Elwell

During my week at the Jeffrey Rubinoff Sculpture Park, I will use the park as a living laboratory to test how a grotesque (grotto-esque), embodied, pan/theological humanism can enter into conversation with Rubinoff’s secular humanism, his conviction that art is an act of conscience, and his concern with cultural and civilizational endgames.
Moving intentionally through the sculptures, series, pathways, vistas, weather, and archives, I will draw, photograph, write, diagram, and sculpt clay maquettes in order to discover how vulnerable, disabled, mortal forms might inhabit the sculptural landscape on Hornby Island without lapsing into heroic monumentality. The residency is thus both visual and philosophical research. It is an opportunity to bring Rubinoff’s metal landscape, conscience, and endgame-thinking into conversation (tension?) with my own work on AI, embodiment, risk, disability, and human making while endeavoring to create the first concrete studies for an illustrated essay and new sculptural series.

At the end of my Exploratory Research Residency, my aim is to leave the Jeffrey Rubinoff Sculpture Park with a nascent sculptural series and a clear, energizing thesis: large-scale materially demanding sculpture can still train our conscience and keep the human beautifully, stubbornly grotesque in an AI age that prefers the disembodied and optimized.

See Sage Elwell’s Post-Residency Photo Essay

Sage Elwell residency image 1 at the Jeffrey Rubinoff Sculpture Park
Sage Elwell residency image 2 at the Jeffrey Rubinoff Sculpture Park
Sage Elwell residency image 3 at the Jeffrey Rubinoff Sculpture Park
Sage Elwell residency image 4 at the Jeffrey Rubinoff Sculpture Park
Sage Elwell residency image 5 at the Jeffrey Rubinoff Sculpture Park
Sage Elwell residency image 6 at the Jeffrey Rubinoff Sculpture Park
Sage Elwell residency image 7 at the Jeffrey Rubinoff Sculpture Park
Sage Elwell residency image 8 at the Jeffrey Rubinoff Sculpture Park
Contributor Biography
I am a sculptor and Intermedia artist whose practice is rooted in the heat, risk, and alchemy of the bronze art casting foundry. I grew up working in my father’s foundry and continue to spend extended stretches in foundries across the U.S. where I model, mold, pour, and chase my own work alongside foundry crews. My sculptures and mixed-media projects explore the grotesque, disability, and embodiment as sites of sacred interruption in an increasingly disembodied, algorithmic culture.
Alongside this studio practice, I serve as Professor of Religion and Art at TCU and am currently working on a book titled Hot Mess: On Being Grotesque in the Age of AI. I hold a BA in Religious Studies from William Jewell College, an MA in Philosophy of Religion from the University of Kansas, an MLitt in Philosophical Theology from the University of St. Andrews, and a PhD in Religion, Culture, and the Arts from the University of Iowa, where I studied and apprenticed under renowned German Intermedia artist Hans Breder. I am the author or editor of several books including Religion and the Digital Arts, Crisis of Transcendence: A Theology of Digital Art and Culture, and the forthcoming Religion and the More-Than-Human Future. I’ve also written numerous academic and popular articles. My work tracks how digital culture and artificial intelligence is reshaping art, culture and humanity whilst insisting on the stubborn, vulnerable, and incandescent fact of the human body.