Abstract
About the (Im)material Artefacts project by Sarah Younan:
Emerging digital technologies provide new ways to engage with artefacts and recent developments in 3D print are rapidly bridging the gap between digital and physical objects.
For the (Im)material Artefacts project ceramic artefacts from the storage collections at the National Museum Cardiff were scanned in 3D. The resulting 3D scans are mutable, can be easily distributed and have the capacity to enter into situations beyond the reach of the original itself. They were shared with a number of British and international artists, who were invited to create new artworks based on these digital 3D scans.
The (Im)material Artefacts display showcases the eclectic range of artworks created as a result of this project. (Im)material Artefacts sets up a dialogue between the old and the new, analogue and dialogue, material history and digital flight of fancy.
(Im)material Artefacts was made possible by an award from the Arts Council of Wales. Additional support was provided by the Welsh Institute for Research in Art and Design, the Arts and Humanities Research Council, and Cardiff Metropolitan University.
About "Screwed Up" by Flemming Tvede Hansen:
In his practice Hansen combines digital processing with an intuitive grasp of form and materials. Hansen develops software and models his born-digital objects from scratch before 3D printing them. His participation in the (Im)material Artefacts project presented Hansen with a different challenge; to re-imagine an existing 3D model. Hansen chose the 3D model of an English 18th century patch box, or bonbonniere, to work with. Hansen’s piece Screwed Up holds an ironic double meaning; the face of the patch box lady has been ‘screwed up’ and twisted about, but digitization has also ‘screwed’ with the original qualities of the artefact. Hansen understands the scanning process as a transformative action, which translates the museum artefact into something new. Hansen’s work playfully references the loss of information and function between the original artefact and the 3D model. He produced a series of 3 bonbonnieres, with twisted necks and screwed up faces. The pieces function like an animation, conveying a sense of movement and transformation.
Emerging digital technologies provide new ways to engage with artefacts and recent developments in 3D print are rapidly bridging the gap between digital and physical objects.
For the (Im)material Artefacts project ceramic artefacts from the storage collections at the National Museum Cardiff were scanned in 3D. The resulting 3D scans are mutable, can be easily distributed and have the capacity to enter into situations beyond the reach of the original itself. They were shared with a number of British and international artists, who were invited to create new artworks based on these digital 3D scans.
The (Im)material Artefacts display showcases the eclectic range of artworks created as a result of this project. (Im)material Artefacts sets up a dialogue between the old and the new, analogue and dialogue, material history and digital flight of fancy.
(Im)material Artefacts was made possible by an award from the Arts Council of Wales. Additional support was provided by the Welsh Institute for Research in Art and Design, the Arts and Humanities Research Council, and Cardiff Metropolitan University.
About "Screwed Up" by Flemming Tvede Hansen:
In his practice Hansen combines digital processing with an intuitive grasp of form and materials. Hansen develops software and models his born-digital objects from scratch before 3D printing them. His participation in the (Im)material Artefacts project presented Hansen with a different challenge; to re-imagine an existing 3D model. Hansen chose the 3D model of an English 18th century patch box, or bonbonniere, to work with. Hansen’s piece Screwed Up holds an ironic double meaning; the face of the patch box lady has been ‘screwed up’ and twisted about, but digitization has also ‘screwed’ with the original qualities of the artefact. Hansen understands the scanning process as a transformative action, which translates the museum artefact into something new. Hansen’s work playfully references the loss of information and function between the original artefact and the 3D model. He produced a series of 3 bonbonnieres, with twisted necks and screwed up faces. The pieces function like an animation, conveying a sense of movement and transformation.
| Translated title of the contribution | Screwed Up: Participation in the (Im)material Artefacts project by Sarah Younan |
|---|---|
| Original language | English |
| Publication date | 2014 |
| Size | height 12 cm. |
| Publication status | Published - 2014 |
| Event | The (Im)material Artefacts project at the National Museum Cardiff - National Museum Cardiff, Wales, United Kingdom Duration: 29 Apr 2014 → 1 Jul 2014 |
Conference
| Conference | The (Im)material Artefacts project at the National Museum Cardiff |
|---|---|
| Location | National Museum Cardiff |
| Country/Territory | United Kingdom |
| City | Wales |
| Period | 29/04/2014 → 01/07/2014 |
Keywords
- 3d printing
- 3d scan
- Digital fabrication
- Digital design
- Digital design tools
- Art
Artistic research
- Yes