My recent work has focused on using a projector as an intelligent light source. Currently I am producing oil paintings, then projecting a blank black light onto the canvases which allows me to trace the basic shadows and highlights with a digital brush. This creates a template that essentially is a tracing of the original painting done in photoshop. By blurring the traced lines and filling in shapes with hues and gradients in photoshop, I create a ground for projecting the painting back onto itself in appropriate layers. From this setup I can both change the colors and hues to give the painting a feeling of animation, such as making the eyes blink and move, and by scaling the shadows up, I can create a feeling of the painting breathing.
This led to discussions with David Gauthier (ciid.dk/education/people/faculty/david-gauthier/) about how to take this process further using computer vision algorithms. Rather than working solely with a digital brush, we could take various photographs of the different stages of my oil painting process, known as fat-over-lean, then feed them to vision algorithms to produce a dynamic oil model (vectorization, SURF descriptors) which in turn will create unseen layers that come to life on the digital projection. Representing a sort of archeology of painting, this will reveal the structural unseen and show the hidden strates of data. From here we have data that can be manipulated to transform a static piece of work into something lively and animated.
The subjects of the paintings are the Muses, the ancient goddesses responsible for inspiring advancement in the arts and sciences. In playing with both the traditional nine Greek Muses and earlier accounts of three Muses, I will create a series of three triptychs which will portray three Muses each. These three triptychs will use as their unification the qualities of the early Muses: Practice, Memory, and Song, to highlight the three-staged process of this project.
The first triptych will show the original inspiration of the project, the “practice” stage of the work, where I use photoshop and oil paint, as described above.
Then, in the “memory” stage, by parasiting this process with machines that observe and make their own sense of it, I will subvert the "normal" artistic process of painting by projecting their desires onto the painting. This stage is described and put forth in the current proposal.
In a future stage, stage three: “song,” I hope to completely erase the "normal" paint itself and replace it with robot friendly pigments which can reflect light / color better, such as U.V / I.R - non-visible spectrum painting, electro-conductive sound oils which can generate micro signals from the oil itself (brush or fingers contacts) so the painting can scream all the time.
In partnering with the Creators Project, I hope to advance this overall body of work which aims to redefine the new territories of contemporary painting.
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