For the last 18 years, Eyal Gever has been working on a synthesis of technology and art using 3D software technology. Seeing the results is akin to rubbernecking as you pass the scene of a traffic accident.
His visceral and often barbarous imagery takes on subjects like single combat, truck crashes and flood damage, and the data he collects is then used as fodder for 3D printed large sculptures which distill and transform violent events into stripped-down documents of violence.
The work is essentially disaster and catastrophe captured in resin and plastic through the use of Objet 3D printers.
And it's little wonder that Gever chose such uncivil subject matter. He did his national service with the Israeli army as a paratrooper, but was forced into a desk job following an illness. In that job, Gever was given the task of creating electronic simulations of explosions and other destructive situations.
Though they are abstract – bus crashes in the form of brightly-colored cubes, the destruction of cities by flood rendered as oily splashes – both the images themselves and the intent are all about pitiless reality.
"I'm approaching it as a serial killer would," Gever said. "I don't have any pity or mercy. That's why I won't show you blood and flesh."
Aside from his challenging sculptural works and experiments in 3D animation, Gever holds no less than eight patents in internet multimedia technologies and 3D computer graphics animation.
Using proprietary 3D physical simulation software of his own devising, Gever has developed computational models for physical simulation, computer animation, and geometric modeling which he combines with applied mathematics, computer science and engineering to "capture and freeze catastrophic situations as cathartic experiences."
"My sculptures are created from software I have developed," Gever says. "I am influenced by the destructive impact within our environment. Uncontrollable power, unpredictability and cataclysmic extremes are the sources for my work. They inspire, fascinate and remind me of the constant fragility and beauty of human-life. Beauty can come from the strangest of places, in the most horrific events."
Gever is a frequent speaker at industry events and his work has drawn the interest of publications from Red Herring to the Wall Street Journal, Wired magazine and Newsweek.
Gever says he's developed much of the code he uses with other programmers and some of the software is based on open source code while other tools take the form of plug-ins for standard commercial software. The artist says that his position as a member of the board of directors for the Israeli firm Object, a 3D animation company, also provides him with a growing list of trade secrets he adapts to his art.
"I'm like an artist creating his own pigments," Gever told the BBC.