Physically expanding the image

Again I was thinking about Zygmunt Bauman’s book “Globalization”. At one point, I felt that there was a connection between the dematerialization of information and my need to extrude the image. Maybe I am making 3D images in an effort to physically grasp the reality that is represented in them, to make them an object that exists inside my physical space rather than a flat image presented on a screen.

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Maybe this has to do with the fact that the huge flood of digital images makes us feel disconnected because the are not part of immediate physical reality. on Bauman’s book, he was referring to how time and space have been compressed in a globalised world

What is this relation between time and space?

The active viewer

I was thinking that one of the advantages of a 3D painting is that you make the viewer become more active in order to explore the painting. Of course this is also achievable by adding different points of interest inside a flat painting but this comes after de viewer acquires a general and complete view of the representation. In the case of the 3D painting this happens since the beginning and is part of building a general picture.

On the 15th of September I went to the Tate Modern and I saw several Pieces from a group called “New Tendencies”, founded in 1961  in Zagreb. Croatia. The introduction to this exhibition also referenced the “Active viewer” that would  engage with art  in a real time and space.

Physichromie N0. 113 – Carlos Cruz Diez – 1963

Kinetic Relief -Optical Acceleration – Jean Pierre Yvaral – 1963

My reflection

For me it was really interesting to see this pieces, although I did not see them as painting I was exited to see an object that potentially works like a 3D painting. For me, when the active becomes active, he/she is abel go get involved with body and mind and this is a great area to explore for painting.

I was also thinking that with the digital image the process could go on two different directions. Firstly. the viewer could physically interact with the canvas to obtain a fluid projected image. like depth maps seen on the Internet. the other one could be using kinect to change the image when the spectator changes its point if view.

Framed landscapes – A collage of memories

At the end of July I found the perfect excuse to start working on middle size pieces, I saw an open call on the mall galleries and I wanted to build two pieces large enough to be presented to this contest, I applied the same construction principles I had learn with smaller pieces but soon I discovered it was going to be a far  more complex and challenging process.

My idea for this was to connect different moments represented by different images inside a single piece. I wanted to represent the idea that visual memory is a collage of elements dynamically attached to one another.

I started by selecting two images from a gallery of photographs I took on two different trips to natural parks near London i.e. Richmond Park and Windsor Park, then I went through a gallery of photographs from my cellphone and selected two more images from past experiences, Finally, I “stitched” them both inside Blender and built a 3D model of them.

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Afterwards, I had to rethink my construction logic and spent quite a good amount of time just learning how to translate the 3D model onto 3 separated layers of foam.

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Finally I was able to finish both pieces for the contest and now I am waiting for the results.

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Reflection:

In this series I was really decided to take risks, and I did take more than a couple, now I feel inspired to take things even further. I think that this first attempt was pretty successful.

Sculpting the 3D image

This summer I dedicated a fair amount of time developing my practice as a painter/sculptor. Thanks to my experience building the pieces for the MA Final show I gained enough confidence to start working on a new series of painting sculptures.

I wanted to make a series of small pieces I called “square landscapes”, this was an opportunity to test a new approach to the construction process and although I still working on them, I gained crucial knowledge on how to use the materials.

First I selected 4 photographs; two landscapes from UK and two photos I took while living in Colombia, I made two different 3D models combining one landscape with one image from Colombia.

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Self-portrait#4 – Expanding the image

I Spent almost 3 weeks working really hard on this piece for the interim show, I have to say that I did learn a lot as I did try to push the limits of my technique, I feel that I really did sculpt this piece rather than just cut out pieces.

With this piece I want to push the limits of the flat image, expanding it and bending it to unleash its representative potential. Basically I am trying to create a self portrait that looks back creating a loop around the represented subject.

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Right now, I feel that I should do more pieces with subjects to find new ways to compose them inside the 3D space.

Landscape #9 – Challenging perspective systems

After almost 3 months I was able to finish this piece, It was a big challenge for me for many reasons, I think that I did face my biggest fear towards painting i.e. sculpting the canvas.  At the end I feel I did learn a lot from making this piece.
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At the moment I feel that I need to keep taking more risks while enjoying this new sculptural adventure.

Interim Show – A lot to think about

The interim show finished and I feel exhausted, this was a great opportunity to push my self and get some work done, I have to say that I spent almost a month of very hard work in order to finish both pieces.

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I did spent a good amount of time both invigilating and also visiting the show, I have to say I am a bit surprised about the way people engaged with my pieces, not many comments and the ones that I was able to hear where misleading, I feel that some how people do not know what to make of them or just get them wrong.

Of course, I am not thinking people are wrong neither my pieces, I just feel overwhelmed.

Multiple points of view – 3D composing

I was thinking that I could make a piece using different perspectives from different characters.  focusing on what they are looking at.  maybe painting what is important for them in a three dimensional shape.

In this way, I could use “focus” as an active element inside the composition, Like I did in my self portrait connecting my self with the reflection of my self in the mirror.

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Make it look like an accident

It’s been a while since I started reflecting about accidents and how they shape our existence. I am aware that my brain spends lots of energy just to mantain the illusion of an ordered reality and therefor, prevent me from going mad.

Although it is natural for us to stay captivated by this fabricated state of mind, it is fairly easy to unveil parts of the chaotic and unpredictable ways of “real reality”. After all, our brain basically blocks huge chunks of data coming through our senses while keeping attention on thoughts.

Today I was going back on my research, reflecting on the paths I took before developing a particular idea that I am exploring at the moment, as I was drawing a mental map,  it was easy to realize that there were a lot of small accidents that influenced my mind to follow an specific direction; a photograph I took of a particular person that was standing on the train station, a sentence I read on a particular poster while I was going to the Uni. Although it may seem that I am talking about chance, I want to go further by exploring the idea of provoking accidents as a part of active research.

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By now I realize that my creative practice is modulated by a higher body that prevents my self from engaging in spontaneous actions that might end up in more interesting and unknown places. On one hand, I know I need a rational structure to support my actions in order to perform well. On the other hand, I have found that in some parts of the process I am able to give up a rational approach by consciously blocking my thoughts and letting my guts lead the way.

For this piece of a landscape, I created a 3D digital model that was meant to be made physical, however I had many difficulties trying to create a big sized 3D representation of it, so I ended up deciding to go for an experimental model sculpting, at the end, I had to adapt and work in a surface that was pretty unique and also different from the original sketch.

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In the present, I am still working on this piece, but the accidental approach helped me to gain confidence and I feel that soon I will start to do more work without being so dependent on 3D printing means.

Reflection

I definitely believe that accidents might help develop ones practice in interesting directions and I feel that those new paths might go really close to one’s true expression.

Sculpting the image – Digital to Physical

I have to confess that since I started making 3D models, I had this fixed idea about the process needed in order to make them become physical objects.  In my mind, I had this idea of accurate materialization, and that is why I was so exited about using a 3D printer.

However, after five months of trial and error experimentation, I’ve decided to give in my need for accurateness in order to overcome my present restrictions. Now I am willing to start sculpting the canvas for my pieces (I do not know if I should call it canvas anymore).

For my next piece I am using a 180 Image I made while visiting Windsor park, I imported it inside blender and extruded it to make a 3D model.

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A few days ago I bought a sheet of blue polystyrene foam and went to the 3D workshop to cut it with a hot knife (I have to say that Gillian, the technician, was really helpful). I am planning to make a landscape piece using several cutouts of  .

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Before I start to make the model I wanted to test the material so I bought a foam coating and made an experimental piece applying two different coating concentrations.

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I did go well and now I am preparing my self to start building the sculpture for the landscape.