Going to try do some 3d modeling on zbrush in the style of ancient greek sculpture, had zbrush for a while but havn’t used it yet so i’ll post the results up. I’m going to try and go for this kind of style:


Liminal Identities

I like these kind of projects, this one by Rebecca Allen, that cross the boundary of the real and the virtual. In the case the physical object will capture the faces of the exhibition users and transfer them into the installation digital counterpart. There is also the ability to breathe on the installation, capturing different senses and transferring them into the virtual realm.



Gradually over the course past weeks I feel the idea of appropriation and originality have been issues that pop up quite often, in particular to work created within the digital realm. I think it would be an interesting topic to investigate more, the idea surrounding my original topic of the body in contemporary art and digital technologies can still find it’s place within this.

The term itself can be defined as “the use of borrowed elements in the creation of a new work”, and has been a fundamental aspect of the creation of art works in the past and increasingly more so as the development of digital technologies progresses. Examples such as Picassos collages and Duchamps readymades can be seen as early 20th century appropriation artworks, indeed any readymade work could be viewed in some sense as an act of appropriation.

The progression of digital technology has made the possibility of appropriation and creation of work from it all the easier with the ability to copy and paste, along with the ability to take assets from sources such as the Internet, something that I focussed on in my dissertation which I will make a post about at a later date. Works such as the LHOQQ by Duchamp took the image of the Mona Lisa and let the artist create his own version, which has its digital counterparts such as Gary Andrew Clarke’s pixelated Mona Lisa to ASCII versions of the classic artwork (examples of these can be found here: http://www.studiolo.org/Mona/MONA43.htm)

To relate to things I’ve been doing, Second Life itself is an appropriated version of the real world, the work I created from it with the glitches are simply appropriated images of things that other have created in order to create a new composition, but then again the images of the environments that I “stole” where stolen from the real world in the first place. It’s just becoming one big thieving match. In my recent chat with Jonathan he said to me in relation of my Monet Glitch “you have not just put 2 things together but you have brought a larger narrative to the image, the history of western painting and art, and a digital space, that is very real to some but seems to lack physicallity and made something new from it.” This kinda gave me a good idea of a direction to go in.

Will continue to develop the idea of appropriation

Recently got a hold on Zbrush, a digital 3d modelling programme. From already looking at the work of Robert Lazzarini, who creates his sculptures using 3D CAD files then has them created, I think this could be a useful tool in the creation of work. Even from looking into Second Life the body can be manipulated in ways that are physically impossible in the real world, the video examples of Eva and Franco Mattes’ work I Cant Find Myself Either being a good example of this, Zbrush could become a useful programme in the examination of the human body in a virtual environment.

Examples of Lazzarini’s work:

Initial thoughts

Digital art in itself, being a bit of an umbrella term, means different things to different people. In relation to myself, I was always interested in the traditional aspects of the fine arts, namely painting and sculpture, and gradually through out studying my undergraduate course in Digital art, began to be interested in Video and Installation projects. What I am interested in is studying how digital technology can be used a tool in the creation of ‘traditional’ art objects. What will the role of digital technologies play in the future of painting and sculpture for example, disciplines that have been more based around physical ability to work with materials in the real world.
For my degree show Digital Renaissance, I created a series of works that aimed to try and incorporate what I have said above and functioned as somewhat of a starting point in my interest in this field as opposed to working completely within a virtual environment where the only visual output of the work was on the screen. My research into this saw me looking at the techniques of artists such as Fiona Rae, who creates painting templates using computer software and replicates that using paint on canvas. Similarly with artist such as Robert Lazzarini in his work manipulating 3D CAD files and producing them through 3d printing processes to create sculptures for a gallery environment.