This week I returned to the Shaun Project Space to make further tests. I wanted to see how the canvases and photographic pieces would work when utilising the wall as picture plane. This exercise has suggested a variety of developmental possibilities. In particular how to use lighting to better effect and how to further utilise elements which extend beyond the frame, as well as, fully sculptural and installation based responses. I have also come to reconsider the canvases themselves. Still unsatisfied with the rather sanitised surfaces and clinically produced shapes, my feeling is that each of the individual elements requires more attention. When referring to earlier woks, the marks and gestural elements that were once so important have almost entirely disappeared. Though the context has evolved, I still feel the need to reintroduce a greater sense of the haptic. Staining and marking the surfaces will be key. Additionally, my digital experiments have revealed elements which could be introduced as interventions in the surface. There is potential for a glitch - a blank 'black hole' - where the information is lost or the reading of surface has failed. The notion of 'the black hole' as well as the idea of lost information are potentially rich veins to tap. Materiality, mass and density. Dematerialisation, evaporation and loss. As the work increases in its geological references, there is an additional sense of time and history which moves beyond recent histories and localised concerns.
Today I spent the morning at FabLab using a 3D scanner to digitise the small maquettes I've been developing in the studio. It was an interesting and remarkably straight forward thanks to some impressive tech! Within the process the software adapted what it scanned, filling in the blanks to fit its coding. I'm fascinated by the idea of collaborating with the machine. The notion that it is participating in the creative process. I have been surprised by my response to this digital exploration so far. I did not expect to find such resonance with my studio practice - the potential for chance and gesture, layering and surface still remain. There is something very seductive about the imagery that the software produces. I'm intrigued by the way the forms have been adapted heavily by the process, as well as the interplay between the real and the virtual forms. I'm looking forward to moving these scans forward into the VR software.
This image shows data captured by a 3D scanner from one of my sculptural maquettes. I was fascinated to see the way the software displayed the information. I was immediately struck by the relationship between the facets as they were presented here and the compositional elements that I have been using in the studio.