SCULPTORS GUILD 

Artist Collective Since 1937                                                                                
Fall Deadline: October 15, 2015

*The Gallery Entrance is now at 

55 Washington Street. Use the elevator for the 2nd floor, #256*


In the Sculptors Guild Gallery


Opening Reception:

Thursday, September 3, 2015

6:00-9:00pm

#NotABox
Fundraiser Exhibition

September 3-27, 2015


Sculptors Guild Gallery
55 Washington Street, #256
Dumbo /  Brooklyn
718-422-0555

Exhibition Hours :
Thursday & Friday 12-5pm
 
sculptorsguild@gmail.com
www,sculptorsguild.org
 
The Sculptors Guild is a 501(c)3 nonprofit organization.
PAUL HIGHAM is internationally recognized as a pioneer of digital sculpture and progenitor of 

‘Data Sculpture’ working with Virtual Sculpture and Prototyping technologies in the fine arts for over 

25 years.

Born in Scotland in 1954, Whilst at Liverpool Art School in the early 70’s he was taught by Arthur 

Ballard. He went on to study Video and Painting at Goldsmiths, with Sculpture tutor Michael Craig 

Martin. Rather than study Art History Higham studied John Von Neumann and Wittgenstein under 

August Wiedemann, a direct pupil of the philosopher. During Higham’s time at Goldsmiths Carl 

Plackman referred to Higham’s work as “Schematic entropy machines“. These conceptual works 

specifying autonomous domain states became sculptural schemas in the late 70’s. By the 80’s he 

was able to make these domain states truly ‘Operational’ through computation, his endeavor has 

remained consistent to propagate a new form of art based on autonomous self-organizing systems. 

In 1985 – 87 he became a resident at the Madhyamaka Tibetan Buddhist Monastery where he 

studied for the Geshe Degree {Lo-Rig} in “Mind & Cognition”:this research has directly influenced 

the current work in the ‘Thought Forms’ exhibition. 

Higham came to the USA in 95 to carry out advanced research residencies at the University of 

Minnesota in rapid prototyping and V.R. medical visualization labs: he harnessed these emergent 

technologies to produce digital art. During this period he was a resident artist at MVS Mayo Clinic 

Immersive Haptic Laparoscopy (remote surgery) utilizing haptic force feedback technologies as 

well as spending 3 yrs in the DARPA  “Human Machine Design Lab” as resident artist building 

neural interfaces and data gloves. This is when he developed ‘DATA SCULPTURE’: using 

information theory, heuristics and real-time data mining to create emergent forms.

Also at this time he developed a relationship with Stratasys Rapid Prototype Corporation, Sensable 

and Geometrix using scanners to digitize objects volume by volume at a distance which Higham 

termed ‘Space Sampling’. The abducted coordinates of that object were then turned into a digital 

mesh or virtual 3D representation of conditional states. Thus following up on the inquiries he began 

at Goldsmiths College of Art, London.

Higham continues to use sonification, A.I./ virtual reality, haptic force feedback, cnc, rapid 

prototype and 3d printing technologies to directly engage the possibilities of algorithmic generation 

to make physical ‘Data Sculpture’ as well as drawings, maps, performance and interactive works 

for real-time, web and installations. 

Higham has lived and worked in London, Manchester, New York City, Minneapolis, Chicago, New 

Orleans,the Netherlands and currently resides in Upstate New York where he has an extensive 

digital sculpture studio. His works are in private collections and Museums.
PAUL HIGHAM is internationally recognized as a pioneer of digital sculpture and progenitor of 

‘Data Sculpture’ working with Virtual Sculpture and Prototyping technologies in the fine arts for over 

25 years.

Born in Scotland in 1954, Whilst at Liverpool Art School in the early 70’s he was taught by Arthur 

Ballard. He went on to study Video and Painting at Goldsmiths, with Sculpture tutor Michael Craig 

Martin. Rather than study Art History Higham studied John Von Neumann and Wittgenstein under 

August Wiedemann, a direct pupil of the philosopher. During Higham’s time at Goldsmiths Carl 

Plackman referred to Higham’s work as “Schematic entropy machines“. These conceptual works 

specifying autonomous domain states became sculptural schemas in the late 70’s. By the 80’s he 

was able to make these domain states truly ‘Operational’ through computation, his endeavor has 

remained consistent to propagate a new form of art based on autonomous self-organizing systems. 

In 1985 – 87 he became a resident at the Madhyamaka Tibetan Buddhist Monastery where he 

studied for the Geshe Degree {Lo-Rig} in “Mind & Cognition”:this research has directly influenced 

the current work in the ‘Thought Forms’ exhibition. 

Higham came to the USA in 95 to carry out advanced research residencies at the University of 

Minnesota in rapid prototyping and V.R. medical visualization labs: he harnessed these emergent 

technologies to produce digital art. During this period he was a resident artist at MVS Mayo Clinic 

Immersive Haptic Laparoscopy (remote surgery) utilizing haptic force feedback technologies as 

well as spending 3 yrs in the DARPA  “Human Machine Design Lab” as resident artist building 

neural interfaces and data gloves. This is when he developed ‘DATA SCULPTURE’: using 

information theory, heuristics and real-time data mining to create emergent forms.

Also at this time he developed a relationship with Stratasys Rapid Prototype Corporation, Sensable 

and Geometrix using scanners to digitize objects volume by volume at a distance which Higham 

termed ‘Space Sampling’. The abducted coordinates of that object were then turned into a digital 

mesh or virtual 3D representation of conditional states. Thus following up on the inquiries he began 

at Goldsmiths College of Art, London.

Higham continues to use sonification, A.I./ virtual reality, haptic force feedback, cnc, rapid 

prototype and 3d printing technologies to directly engage the possibilities of algorithmic generation 

to make physical ‘Data Sculpture’ as well as drawings, maps, performance and interactive works 

for real-time, web and installations. 

Higham has lived and worked in London, Manchester, New York City, Minneapolis, Chicago, New 

Orleans,the Netherlands and currently resides in Upstate New York where he has an extensive 

digital sculpture studio. His works are in private collections and Museums.
PAUL HIGHAM is internationally recognized as a pioneer of digital sculpture and progenitor of

‘Data Sculpture’ working with Virtual Sculpture and Prototyping technologies in the fine arts for over 

25 years.

Born in Scotland in 1954, Whilst at Liverpool Art School in the early 70’s he was taught by Arthur 

Ballard. He went on to study Video and Painting at Goldsmiths, with Sculpture tutor Michael Craig 

Martin. Rather than study Art History Higham studied John Von Neumann and Wittgenstein under 

August Wiedemann, a direct pupil of the philosopher. During Higham’s time at Goldsmiths Carl 

Plackman referred to Higham’s work as “Schematic entropy machines“. These conceptual works 

specifying autonomous domain states became sculptural schemas in the late 70’s. By the 80’s he 

was able to make these domain states truly ‘Operational’ through computation, his endeavor has 

remained consistent to propagate a new form of art based on autonomous self-organizing systems. 

In 1985 – 87 he became a resident at the Madhyamaka Tibetan Buddhist Monastery where he 

studied for the Geshe Degree {Lo-Rig} in “Mind & Cognition”:this research has directly influenced 

the current work in the ‘Thought Forms’ exhibition. 

Higham came to the USA in 95 to carry out advanced research residencies at the University of 

Minnesota in rapid prototyping and V.R. medical visualization labs: he harnessed these emergent 

technologies to produce digital art. During this period he was a resident artist at MVS Mayo Clinic 

Immersive Haptic Laparoscopy (remote surgery) utilizing haptic force feedback technologies as 

well as spending 3 yrs in the DARPA  “Human Machine Design Lab” as resident artist building 

neural interfaces and data gloves. This is when he developed ‘DATA SCULPTURE’: using 

information theory, heuristics and real-time data mining to create emergent forms.

Also at this time he developed a relationship with Stratasys Rapid Prototype Corporation, Sensable 

and Geometrix using scanners to digitize objects volume by volume at a distance which Higham 

termed ‘Space Sampling’. The abducted coordinates of that object were then turned into a digital 

mesh or virtual 3D representation of conditional states. Thus following up on the inquiries he began 

at Goldsmiths College of Art, London.

Higham continues to use sonification, A.I./ virtual reality, haptic force feedback, cnc, rapid 

prototype and 3d printing technologies to directly engage the possibilities of algorithmic generation 

to make physical ‘Data Sculpture’ as well as drawings, maps, performance and interactive works 

for real-time, web and installations. 

Higham has lived and worked in London, Manchester, New York City, Minneapolis, Chicago, New 

Orleans,the Netherlands and currently resides in Upstate New York where he has an extensive 

digital sculpture studio. His works are in private collections and Museums.

PAUL HIGHAM is internationally recognized as a pioneer of digital sculpture and progenitor of ‘Data Sculpture’ working with Virtual Sculpture and Prototyping technologies in the fine arts for over 25 years.

Born in Scotland in 1954, Whilst at Liverpool Art School in the early 70’s he was taught by Arthur Ballard. He went on to study Video and Painting at Goldsmiths, with Sculpture tutor Michael Craig Martin. Rather than study Art History Higham studied John Von Neumann and Wittgenstein under August Wiedemann, a direct pupil of the philosopher. During Higham’s time at Goldsmiths Carl Plackman referred to Higham’s work as “Schematic entropy machines“. These conceptual works specifying autonomous domain states became sculptural schemas in the late 70’s. By the 80’s he was able to make these domain states truly ‘Operational’ through computation, his endeavor has remained consistent to propagate a new form of art based on autonomous self-organizing systems.

In 1985 – 87 he became a resident at the Madhyamaka Tibetan Buddhist Monastery where he studied for the Geshe Degree {Lo-Rig} in “Mind & Cognition”:this research has directly influenced the current work in the ‘Thought Forms’ exhibition.

Higham came to the USA in 95 to carry out advanced research residencies at the University of Minnesota in rapid prototyping and V.R. medical visualization labs: he harnessed these emergent technologies to produce digital art. During this period he was a resident artist at MVS Mayo Clinic Immersive Haptic Laparoscopy (remote surgery) utilizing haptic force feedback technologies as well as spending 3 yrs in the DARPA  “Human Machine Design Lab” as resident artist building neural interfaces and data gloves. This is when he developed ‘DATA SCULPTURE’: using information theory, heuristics and real-time data mining to create emergent forms.

Also at this time he developed a relationship with Stratasys Rapid Prototype Corporation, Sensable and Geometrix using scanners to digitize objects volume by volume at a distance which Higham termed ‘Space Sampling’. The abducted coordinates of that object were then turned into a digital mesh or virtual 3D representation of conditional states. Thus following up on the inquiries he began at Goldsmiths College of Art, London.

Higham continues to use sonification, A.I./ virtual reality, haptic force feedback, cnc, rapid prototype and 3d printing technologies to directly engage the possibilities of algorithmic generation to make physical ‘Data Sculpture’ as well as drawings, maps, performance and interactive works for real-time, web and installations.

Higham has lived and worked in London, Manchester, New York City, Minneapolis, Chicago, New Orleans,the Netherlands and currently resides in Upstate New York where he has an extensive digital sculpture studio. His works are in private collections and Museums.

'F.R.O.N.D Fractal Rendition of Noumenal Data'  Bronze 2015
'F.R.O.N.D Fractal Rendition of Noumenal Data'  Rapid Prototype 2014