I have been thinking on how people reacted to Hidden Reflections: Tursiops. This piece was a sculpture consisting of a 3D print, plinth and AR (Augmented Reality) art installed on Currumbin beach for SWELL sculpture festival.
Feedback on the complete piece included:
Difficulties I found when using the mobile AR medium of display:
I also felt that some viewers were too techno-phobic to install the app and view the complete piece.
Possible solutions to encourage audience engagement with AR:
Ultimately this kind of work (and to some degree all art ) depends on the enthusiasm/technological level of interest of the audience that the pieces are to be shown to. I have often dismissed art that doesn't immediately engage (my bad).
All in all the whole process of getting my work into SWELL has been a wonderful experience although I admit it was quite daunting having Hidden Reflections shown with more traditional sculptural works. Mainly because of the physical sculptures' 'immediate presence' - their material and physical scale. For example, audiences know what to expect when you present them a traditional bronze - its obviously a sculpture" its bronze fer crissake", but how does one present a virtual sculpture - it doesn't really exist except on a computer or in the artists mind... I'm still working on this.
Comments and critiques on my work are welcome, if you got to see my piece at SWELL, let me know or even if you didn't get in touch.
Jake Hempson (artist)
I am going to be doing a short 5 minute talk this Thursday about my work at the Dust Temple in Currumbin, I will be talking on my submission, practice as well as about the opportunities that being in Swell 2014 has given me as an artist.
I am now finalising the AR component of my submission to SWELL 2014.
I have been using Metaio Creative combined with modo and ZBrush to create and publish the AR component of Hidden reflections.
I animated the slow spin of the AR faceted reflection in modo, which was then exported out as a .fbx file. Additionally I used modo to bake out ambient occlusion maps as well as the visible UV edges which were combined into a final texture map for the the AR .
This faceted AR dolphin skull was then imported into metaio creative along with the original CAD data from the 3D print and base plinth (which is the only hand made component). The CAD data and base plinth are used to line up or register in 3D space my AR. This content is then released and published on my Junaio channel, as the AR is locked to the CAD ( or tethered to the 3D print and plinth) the only way one can see the AR is when one is in view of the physical installation.
Occasional updates from me.