Exuberance 1

"Exuberance No. 1" | 48" x 72" x 13" | Mixed Media | Image Copyright © Stefan Begej

Exuberance 7

"Exuberance No. 7" | 48" x 36" x 5" | Mixed Media | Image Copyright © Stefan Begej

Exuberance 9

"Exuberance N. 9" | 42" x 48" x 7" | Mixed Media | Image Copyright © Stefan Begej

Exuberance 11

"Exuberance No. 11" | 48" x 36" x 8" | Mixed Media | Image Copyright © Stefan Begej

Innovation Engine

"Innovation Engine" | 80" x 72" x 11" | Mixed Media | Image Copyright © Stefan Begej


"Eureka!" | 48" x 78" x 8" | Mixed Media | Image Copyright © Stefan Begej

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Stefan Begej
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My professional background is that of an engineer concerned with developing instrumentation, actuators, sensors and displays for robotic applications. In 2011 I started exploring the technique of "flash sculptures," which are three-dimensional analogs of high-speed photographic images in which the disintegration process of stressed objects is captured and preserved in a wall sculpture format. High reliance was placed on the use of exaggerated or impossible physics to dramatically enhance highly emotional events, and resulted in an artwork series called Fragmentations. Examples include the disintegration of musical instruments played with excessive exuberance, mineral effusions from fractured rocks, everyday electrical devices made to suffer from unbridled frustration, sports equipment fragmenting from superhuman vigor, and parodies of infinity and other conceptual abstractions.

The creative process starts with an everyday object and an associated emotion or concept. The unfortunate specimen is disassembled into components or particles (sometimes delicately with a jewelers saw or small tools, but sometimes more brutally with a power tool, hammer, chisel, knife or axe), and the pieces prototyped on a black workspace and repetitively rearranged to evaluate the visual effect of various distributions. Unlike photography, flash sculptures allow the actual physics of the disintegration process to be freely modified or even completely ignored, and permit rearrangement of the fragments in improbable or impossible ways that serve to amplify and enhance the visual and mental impact of the depicted event. The time to complete an artwork ranges from one to five weeks depending on the size and complexity of the object and the number of difficulties encountered in attaching the fragments to the canvas-covered wood board.

Awards: In 2013, my work titled “Innovation Engine” was selected from a field of national artists and awarded the grand prize ($10,000) in the Arrow Electronics Art Challenge at the Cherry Creek Arts Festival in Denver.