Although I originally
used digital imaging as an element of the design process for public
sculpture and installations in the early 90's, I now use the computer
primarily for the creation of virtual sculpture and installation.
With the recent introduction of 3D prints (rapid prototyping and CNC
technology, as pioneered by a number of artists in the late 90's),
the "virtual" has returned to the "actual" by
creating physical models from digital files. It is my intention to
locate a common ground between the virtual 3d still and moving images,
and 3d physical prototypes.
I find 3D digital media especially conducive to illustrating disturbing
social/political perspectives of neoliberal "globalised"
modern life. The vicissitudes of neoliberal globalism is one of several
reoccurring themes in recent years represented by (clenched and outstretched)
hand symbols, speakers, the abstract schematic letters of logic and
math (e.g. 'x','y', 'z'), the globe, television, diffused transnational
corporate symbols, cartoon characters as corporate metaphors, and
other iconic symbols of the modern world.
My computer currently functions not only as an aid in visualizing
and designing large-scale sculptures or installations, but now it
essentially functions as a tool to depict objects that would not or
could not be built: impossible images. With an affinity to staged
photography, these images attempt through ambiguity of scale, material,
reflection and perspective to blur the line between images of virtual
and actual objects. The computer prints and videos often capture a
virtual image in a believable but slightly skewed setting that is
both convincing and unsettling. In this context, the virtual sculptures
and monuments are props in a virtual 'installation' that are separate
from the real by the edge of the print or video field.
Most recently, I have begun creating sculptures directly from virtual
3D files using new rapid prototyping (RP) techniques from digital
files sent via e-mail, often to remote sites (in the tradition of
the various electronic 'art correspondence production' by Moholy-Nagy
and Donald Judd). The RP techniques used have been LOM and Z-Corp.
402 printer processes.