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.
Well the print from Shapeways arrived - its printed in transparent detail, its come out as rather a golden colour with the final print,( I'm really temped to hide a solar powered lamp in the plinth, but unfortunately that wasn't in my original proposal). Its one of biggest single prints that I have done through Shapeways - its just within the limits of their max bounding box 250 × 250 × 200 mm for transparent detail. I did think about printing it larger but in the end the final print size was within the limits and It didn't need to be any bigger for the final installation.
The next big thing is to complete is the base plinth and integration with the AR - expect an update this weekend.
I have been fortunate enough to have one of my new sculptural works accepted into SWELL 2014 - The swell sculpture festival is going to be held in September this year along the Currumbin esplanade. My submission titled; Hidden Reflections: Tursiops will combine both digital and the physical using augmented reality and 3D printing.
My artists statement - "The lines are blurring between the physical and the digital. Hidden Reflections: Tursiops is the interplay between the real and the virtual. The work originated from bone fragments, was realised digitally and then 3D printed, becoming both a physical art piece and augmented reality (AR). The AR component of sculpture reflects this digital side of my practice, whilst incorporating it into the physical installation space. I have surfed with Bottlenose dolphins (Tursiops truncatus), I wanted to re-display an aspect of this beautiful creature in a setting by the sea."
The installation combines my techniques and experience in AR and RP and its one of my first tethered AR pieces which is linked to a physical space or point. To be able to see the AR component of the work on a mobile device, you will need to by download the free juniao app from either google play or iTunes :
Its great have my work seen by a new audience in one of my favorite spaces - the sea. The work is still in progress and I will be receiving the 3D print component of my sculpture installation in about a weeks time. I will post more on the progress of the installation then.
Some images from my proposal to the Swell committee are below:
I have just started in my spare time on some more figurative/illustrative works, based on the industrial ambient music of acolyte also known as Craig Saunders. The piece above is based on his track Elegy - is one of tracks which I am working from - listen here.
In literature, an elegy (from the Greek word ἔλεγος, "lament") is a mournful, melancholic or plaintive poem, especially a funeral song or a lament for the dead.Elegy" (sometimes spelled elégie) and may denote a type of musical work, usually of a sad or somber nature.
Listening to the music, I allow myself to free sculpt/draw - creating works based off of the tracks, I plan to go into sections of these works to crop in on areas of the sculpt/drawing/render/mix to make more images - to then refine revisit and re -interpret. These works will be an iterative process and a way form to incorporate my illustrative/photographic dabbling's into my sculptural work.
Its early days with this process - allowing myself to be a bit more free form - and yes there is probably a bit more crossover with my commercial work - but its fun (melancholic fun).
I am working with augmented reality (AR) works after a long break (concentrating on physical prints and my commercial work), and was lucky enough to be invited to have one of my works shown with (Un)seen Sculptures, a mobile 3D augmented reality exhibition presented by dLux MediaArts at the Glasshouse Port Macquarie.
The exhibition will be staged in locations throughout the city and along the water and will feature works by Australian artists and international visitors from as far afield as the USA, China, Portugal, Germany, and the Netherlands.
Situated in these locations will be virtual digital works; hidden from the naked eye but visible to anyone with an iPhone, Android or Nokia smartphone and an app called the Layar Reality Browser, that can be downloaded for free from iTunes, the Android Market or the Ovi Store.
Once they have downloaded this app, people can simply open it up, search for “unseen”, select the layer set up for the show, then hold up their phones at the designated locations, and they will see 3D artworks. When these artworks are “touched”, further information about them will be revealed and other forms of interaction may be unlocked.
The exhibition is curated by Warren Armstrong will be running from 1 May 2014 - 10:00am - 31 May 2014 - 4:30pm. For more about previous showings of (Un)seen Sculptures and to find out what’s been done in this field elsewhere in the world, follow some of the links in the AR Art Links box in the sidebar on his site. www.unseensculptures.com
Mandala - v0.*
This piece started as a vertebrae of a Duiker, (antelope native to Sub-Saharan Africa). The piece has been through several iterations hence the v0.* naming convention, as its an ever evolving three dimensional shape from "home" which I have become attached to (or obsessed with?). Its an evolution of the pure sculptural forms found in the vertebrae to which I often return to, so its cyclical - so the form became a mandala, rather than attempt to replicate the original it now exists in its own in the medium of AR.
Occasional updates from me.