Hands-on 3D printing (in clay)

Icebergs - digital pots by Jonathan Keep (www.keep-art.co.uk)

I've discovered another hands-on way of practising digital printing, this time using a paste of extruded porcelain driven by compressed air. You mix the clay and fill the cartridges yourself, and spoon powdered clay around the form to support it as it's built. (An alternative is to dry it with a hairdryer to harden the structure as it forms.)

It's demonstrated here by ceramicist Jonathan Keep.

http://www.youtube.com/watch?v=VxNzo3ckVOo

The only problem from the point of view of my project is that the process is restricted to creating cylinders. The cylinder shape can be deformed in any way, but you need to design for a continuous extrusion of wet clay.

Art as measurement

Euan Uglow - Studio set up for Skull 1994-7

Creating 3D digital models of flights means placing precise xyz co-ordinates in virtual space that refer back precisely to real space. Prompted by this process of transcription, but also by recent experiences at life class, I've been looking again at the paintings of Euan Uglow and his mentor William Coldstream. They searched for 'irrefutable data' in image-making and Coldsteam is even described as 'scanning' his subject in relation to a series of horizontal axes (Lampert 2007). Both artists constructed their set-ups using plumb lines and markings to make measurements which were then meticulously transferred to canvas.

There is some discussion of Uglow's process (with illustrations) by Neil Plotkin on the Painting Perceptions blog.

Lampert, C. (2007) Euan Uglow: The Complete Paintings  London: Yale University Press

Hand-crafted computing

'Failed' test print of flight data using MakerBot

My rather hands-off digital project Solid Air now seems to be getting more hands-on.

As part of my AA2A placement, I've been able to work with a technican at Plymouth University to create a test model with a MakerBot . (This is the DIY end of the 3D printing spectrum and forms models by layering a melted a plastic filament.) I used existing glider GPS so I could compare the results with high-end laser sintering. Technically it was a failure - too fragile and something of a misprint, but I was really pleased with the slightly messy 'spun sugar' effect, which showed me the data in a new light. It was also great to have another solid object in my hands.

Second, the manipulation of the flight data from a flock of pigeons is now moving along much faster. There have been a number of false starts, partly due to the sheer quantity of data but, with the help of a programmer, I'm now some way to having a simple interface that allows me to turn streams of numbers into quick digital sketches and look for interesting flight patterns. It's this ability to work directly with the data - coupled with the tailor-made programming - that's helping me feel much more like a maker working with other makers than a project manager.

Drawing as a parallel activity

I've been thinking about serial and parallel processes in image making, with reference to an essay by the mathematician and philosopher Brian Rotman. I find this essay particularly interesting because it begins with the analogy of a flock of starlings and a discussion of two modes:

the serial, which consists of doing one thing after another (the whole flock forming itself and moving through time) and the parallel (each starling flying in concert with the others) doing many things at once. (2000: 57) 

He goes on to point out that, even though an image is read by sequential eye movements, its parts are perceived simultaneously as a whole or in parallel.

By contrast, the process of drawing might appear to be serial (look, make mark, look again, make another mark). But, in fact, freehand observational drawing isn't a simple matter of conveying bits of what you see one by one onto paper. A good mark is usually made in relation to the whole subject (using a kind of peripheral vision) and in the context of the whole set of other marks already made. So although it is transferred to the paper in serial actions, the thought processes of an observational drawing are often parallel in nature.

I'm thinking that, as with Ingold, this might provide some insights into the differences between digital drawings (and models) created from co-ordinates and hand-made observational drawings (and models) for my project Solid Air. 

  

Rotman, B (2000) 'Going Parallel' in SubStance #91 pp56-79

Library of Lost Books comes alive

 

My resurrected book Mutter Erde is now on show at the Library of Birmingham as part of the The Library of Lost Books: 6 - 24 November 2013.

http://www.libraryofbirmingham.com/event/Events/libraryoflostbooks

A blog about the project by curator Susan Kruse: thelibraryoflostbooks.blogspot.co.uk

Art that isn't looking away #3

My thanks to Megan Calver for pointing me at this article which makes me realise I have just dipped my toe into a stormy academic/art world debate.
http://www.metamute.org/editorial/articles/anti-political-aesthetics-objects-and-worlds-beyond

Drawing and flying - thinking via life drawing

I've been awarded a place on the national Artists Access to Art Colleges scheme and will be spending approximately one day a week at Plymouth University over the 2013-14 academic year, doing research in support of my bird flight project Solid Air.  While I'm there, I'll also be sharing aspects of my practice with students.

Having been introduced to the facilities and put up an informal introductory exhibition with the other artists (Tabatha Andrews, Sally Hall, Kaleigh Hill, Lee McDonald and Jamie Barber) my first period of hands-on work was to join the weekly life class.

I wanted to explore in a practical way the differences between drawing freehand with pencil on paper and creating digital drawings from data. What most interests me is the contrast that Tim Ingold describes in relation to line-making between 'the trace of a gesture' and 'an assembly of point-to-point connectors' (2007: 74-75).

A freehand drawing evolves during a process of discovery as marks are made and remade in response to the model. In Ingold's terms it is 'laying a trail as one goes along' (ibid.: 76). Similarly, when flying free, the bird maintains an overall goal such as searching for food, but makes its path through the air by responding to different stimuli in the environment (such as air currents).

However, by contrast, when flight co-ordinates collected by a bird are transcribed and plotted on the computer screen or digital printer, the drawing (or 3D print) is made by a process whereby 'every successive destination is already fixed prior to setting out' (ibid.: 73).

Ingold, T. (2007) Lines: A Brief History  London: Routledge