Author: Jesse

I am unable to embed the exhibition, here is the link: https://www.artsteps.com/embed/616606e9092b7a8e6dc0e7c4/560/315

I ended up sticking to my original plan with my brief. Using meshmixer, I focused on removing parts of objects. The parts I removed or separated were key to recognising the objects. I separated the octypus’s head from its body. Because both of these aspects are key to recognising this familiar creature, we know what it is straight away. Creating these sculptures online not only removes sensual aspects like smell, taste and touch, but in a digital world we question its verisimilitude. Is it still an octypus head without many of its sensual aspects ? being digital removes these.

whilst carrying out this brief I thought it questioned not so much just how real our emotional reactions to these objects are, but also our ability to recognise objects. If I can see parts of an octypus but not the entire octypus then is it something completely knew. An object we aren’t familiar with ? At the end of the day we measure how ‘real’ or ‘true’ something is against objects and experiences we already know.

Another thing I found interesting while carrying out this brief is how working in a digital world removes the ethical roadbumps in art making. If I were to reconstruct a whale in the physical world, ethically this would be wrong. Because the digital world removes many sensual aspects it also removes certain emotional responses. Does this make the digital whale less ‘real’ or ‘true.’

I can only use screenshots for some reason. I have tried multiple times with other ones.

Reflection:

I installed big works into my exhibition because I felt this challenged how ‘real’ these assemblages were. I didn’t want the work to be a ‘normal’ scale because when things are normal, people are too comfortable. All of my works are extremely colourful. Assembling everyday objects and distorting them with colours etc. gives an abnormal effect. If things aren’t ‘normal’ our attention is held for longer and our thoughts change. I guess this could be because we are looking for some familiarity in a work. Once we recognise it, we can apply its meaning. I find that really interesting. 

If I could install this in a physical exhibition, every object would have a fruity smell and people could touch every texture. Exhibiting online removes many sensual aspects so you have to (or not) account for these sensual experiences in different ways. Creating an exhibition online gave me countless opportunities I wouldn’t have access to in person.

Link to art steps exhibition: https://www.artsteps.com/embed/615e77f394b069e439893496/560/315

Bryan Plust : Californian based contemporary based artist. Bryan is a digital artist and animator. I can see he also uses the inflation tool rather frequently too. For a long time, I didn’t think digital art was ‘real’ art because I couldn’t physically touch it. Creating simple assemblages makes me realise the extensive hour’s digital artists spend to create these works. Maybe my denial of digital being real art is because I couldn’t measure its worth through hours and time spent, I wasn’t familiar with this medium.

Thais Altès :

John Orion Young is a contemporary artist who runs the website ‘ JOY WORLD.’ He creates using all mediums, worlds, and dimensions. All of his works have unfamiliar and familiar aspects to them, he creates characters. These assemblages have human like qualities to them.

I really struggled with navigating my computer today. For some reason my computer would shutdown meshmixer whenever I would attempt to distort an assemblage and delete the assemblage completely. Even after following the steps by step guide to uploading my 3D image onto WordPress it would come up with an ‘error.’ Because I’m not familiar with this software yet it’s easy to let my frustration take over.

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