Ossicillating spaces – The integration of 3D technologies within printmaking and sculptural practice
Reid, B. (2009) Ossicillating spaces – The integration of 3D technologies within printmaking and sculptural practice. In: Impact 6 International Multi-Disciplinary Printmaking Conference, Bristol , 17 – 19 September 2009.
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Publisher's URL: http://www.impact.uwe.ac.uk
"The challenge for digital sculpture artists, however, is to work with new electronic medium without relying on it for content or presence. The virtual translated to the physical, sculpture files traveling around the world, infinite dissemination and reproducibility, and properties of new materials are all compelling ideas but do not automatically add up to good artistic forms and concepts" (Ganis, W, Ars Ex Machina: Digital Sculpture, Sculpture Org. October 2004, Vol 23, No. 8) As the use of 3D technologies become more pervasive within art and design practice, Ganis's statement becomes more prescient five years on. This paper seeks to examine how how practioners within both sculptural practice and printmaking have integrated these technologies within their current practice. It seeks to create taxonomy of practioners who address the issue of 'content and presence' within creative object making. Through the use of visual analysis a set of examplers has been created as a cross-section of practice both within printmaking and sculpture. From a printmaking perspective the paper aims to show how the relationship between two dimensional and three dimensional spaces is being re-examined through an engagement with new technologies, therefore extending and challenging traditional concepts of printmaking. From a sculptural perpective the paper examines how contemporary artists re-examine material qualities within making, therefore extending and challenging traditional working methods. Through use of technologies such as 3D scanning, 3D software, 3D printing and laser cutting, new hybrid working methods are being established which challenge traditional concepts such as truth to materials. The paper concludes that through a recombination of working methods, traditional and contemporary, artists are creating new poetic synergies through the integration of 3d technologies, challenging and extending established working methods within both printmaking and sculptural practice.