PROJECT ATRIUM: RYAN RASMUSSEN
GLITCH: ARCHITECTURE UNDONE
September 3, 2026 - February 14, 2027
Ryan Rasmussen is a multidisciplinary artist whose work operates at the intersection of architecture, installation, and electronic media. Working with extruded aluminum, acrylic, projection mapping, and interactive systems, he constructs large-scale sculptural frameworks that interrogate the structural and perceptual logic of built environments.
Glitch: Architecture Undone, to be presented at the Museum of Contemporary Art Jacksonville, will consist of two interconnected structural systems. A freestanding tower of extruded aluminum and acrylic, rising approximately twenty-five feet from the atrium floor, will act as “host” to a secondary material accumulation: raw wood scraps, industrial piping, backlit translucent panels, cable assemblies, and found material in states of partial tension. The two systems intersect in the middle zone of the atrium, producing an ambiguity fundamental to the work: it becomes impossible to determine whether the structure is assembling upward or collapsing downward, whether it is being built or being taken apart. This ambiguity is the architectural operation of the glitch.
The installation draws inspiration from Vladimir Tatlin's unrealized 1920s Monument to the Third International –the utopian structure considered a seminal piece of Modern Art, that has continued to inspire artists, designers and architects. Just as Tatlin's Tower reached for the sky but remained earthbound, our digital aspirations often collide with the limitations of our physical world. We confront a paradox of our age: the relentless pursuit of digital perfection juxtaposed with the beautiful impermanence of our material existence. The glitching, shifting structure at the heart of the installation becomes a powerful metaphor for our contemporary existence – constantly in flux, simultaneously solid and ephemeral. Ultimately, this project aims to leave visitors with a profound sense of our entanglement with technology – neither fully separate from it nor entirely subsumed by it.
PROJECT ATRIUM: RYAN RASMUSSEN
GLITCH: ARCHITECTURE UNDONE
September 3, 2026 - February 14, 2027
Ryan Rasmussen is a multidisciplinary artist whose work operates at the intersection of architecture, installation, and electronic media. Working with extruded aluminum, acrylic, projection mapping, and interactive systems, he constructs large-scale sculptural frameworks that interrogate the structural and perceptual logic of built environments.
Glitch: Architecture Undone, to be presented at the Museum of Contemporary Art Jacksonville, will consist of two interconnected structural systems. A freestanding tower of extruded aluminum and acrylic, rising approximately twenty-five feet from the atrium floor, will act as “host” to a secondary material accumulation: raw wood scraps, industrial piping, backlit translucent panels, cable assemblies, and found material in states of partial tension. The two systems intersect in the middle zone of the atrium, producing an ambiguity fundamental to the work: it becomes impossible to determine whether the structure is assembling upward or collapsing downward, whether it is being built or being taken apart. This ambiguity is the architectural operation of the glitch.
The installation draws inspiration from Vladimir Tatlin's unrealized 1920s Monument to the Third International –the utopian structure considered a seminal piece of Modern Art, that has continued to inspire artists, designers and architects. Just as Tatlin's Tower reached for the sky but remained earthbound, our digital aspirations often collide with the limitations of our physical world. We confront a paradox of our age: the relentless pursuit of digital perfection juxtaposed with the beautiful impermanence of our material existence. The glitching, shifting structure at the heart of the installation becomes a powerful metaphor for our contemporary existence – constantly in flux, simultaneously solid and ephemeral. Ultimately, this project aims to leave visitors with a profound sense of our entanglement with technology – neither fully separate from it nor entirely subsumed by it.