Madonna

Photograph taken by Dr. Una D'Elia from the Della Robbia Tabernacle, Florence, Italy

Desiderio Magdalene

Detail from the Della Robbia Tabernacle. 15th Century Painted Sculpture

Della Robbia Tabernacle

Detail from the Della Robbia Tabernacle. 15th Century Painted Sculpture

The landing

'The Landing was an exhibition of paintings held at Gallery Barry Keldoulis in Sydney in 2008. The exhibition comprised 7 paintings and a 3-channel video work. The show built upon the artist's interest in drawing parallels between, while simultaneously disrupting the hermetic integrity of both the painted and virtual surface. In this exhibition this was drawn out by the intentionally scratchy and blanched qualities of the painted surface contrasted against the careful delineations and gradation of their subject matter which was drawn exclusively from virtual 3D animated spaces. Conversely, the video work collapsed a series of picture-perfect objects into a dense and incoherent whole. These tensions and slippages act as manifestations of the indeterminacies that frame our subjectivity more broadly - as artist or viewer. As Barry Keldoulis writes: 'Alwast’s practice engages the construction of ‘reality’ in both the digital and painterly worlds. His seamless stitching together of the various modes of virtual reality... is in this exhibition contrasted with his paintings, which show a fondness for what many now see as the quaint naivety of the medium, and the foibles of humanity the painted surface exudes when compared to the clinical exactitude of the virtual world.'(2008, http://www.gbk.com.au/artists/peter-alwast/the-landing) Works from 'The Landing' were included in the exhibition 'Temperature 2: New Queensland Art' (2009, curated by Frank McBride) at the Museum of Brisbane.

Affecting interference

This collaborative project by Daniel Mafe and Andrew Brown, one of a number in they have been involved in together, conjoins painting and digital sound into a single, large scale, immersive exhibition/installation. The work as a whole acts as an interstitial point between contrasting approaches to abstraction: the visual and aural, the digital and analogue are pushed into an alliance and each works to alter perceptions of the other. For example, the paintings no longer mutely sit on the wall to be stared into. The sound seemingly emanating from each work shifts the viewer’s typical visual perception and engages their aural sensibilities. This seems to make one more aware of the objects as objects – the surface of each piece is brought into scrutiny – and immerses the viewer more viscerally within the exhibition. Similarly, the sonic experience is focused and concentrated spatially by each painted piece even as the exhibition is dispersed throughout the space. The sounds and images are similar in each local but not identical, even though they may seem to be the same from casual interaction, closer attention will quickly show this is not the case. In preparing this exhibition each artist has had to shift their mode of making to accommodate the other’s contribution. This was mainly done by a process of emptying whereby each was called upon to do less to the works they were making and to iterate the works toward a shared conception, blurring notions of individual imagination while maintaining material authorship. Empting was necessary to enable sufficient porosity where each medium allowed the other entry to its previously gated domain. The paintings are simple and subtle to allow the odd sonic textures a chance to work on the viewer’s engagement with them. The sound remains both abstract, using noise-like textures, and at a low volume to allow the audience’s attention to wander back and forth between aspects of the works.

The naturally imperfect form : investigations of the application of digital sculpting methods - extracted art : incorporating and translating ‘found art’ into the medium of digital sculpture

This dissertation analyses how physical objects are translated into digital artworks using techniques which can lead to ‘imperfections’ in the resulting digital artwork that are typically removed to arrive at a ‘perfect’ final representation. The dissertation discusses the adaptation of existing techniques into an artistic workflow that acknowledges and incorporates the imperfections of translation into the final pieces. It presents an exploration of the relationship between physical and digital artefacts and the processes used to move between the two. The work explores the 'craft' of digital sculpting and the technology used in producing what the artist terms ‘a naturally imperfect form’, incorporating knowledge of traditional sculpture, an understanding of anatomy and an interest in the study of bones (Osteology). The outcomes of the research are presented as a series of digital sculptural works, exhibited as a collection of curiosities in multiple mediums, including interactive game spaces, augmented reality (AR), rapid prototype prints (RP) and video displays.

Figure and ground

Critically responding to Heimo Zobernig's painted green carpet, a semi-permanent architectural intervention realised in the immediate aftermath of my survey show, I painted the windows of the predominantly glazed space red to effectively create a two-colour painting that envelops the viewer and adds a new dimension to the painterly tradition of hinterglasmalerei. The work created an immersive environment for viewers that aimed to promote an affectual experience through the intense saturation of the complimentary contrasts red and green.

From ideation to sculpture : digital sculpting as the primary 'ideation' tool for creature design

This research project examined the potential for circumventing drawing in the ideation process by adopting digital sculpture as the primary conceptual development and design tool for the digital sculpting of creature designs. Through a series of experimental research cycles, multiple frameworks were explored with the aim of identifying a methodology for creating '3D sculpted sketches' for the initial phases of the ideation process. This research project acknowledges that drawing still remains the predominant method of visualising design ideas for characters and creatures for many artists. However, alongside other ideation techniques digital sculpting can function as a rapid and responsive tool to visualize and explore forms in a digital sculpting environment for the conceptualisation of multiple creature design variations. The results of this study are significant for emerging digital sculptors who may not necessarily have a well-defined creative brief or initial concept.

Budgie Smuggler: Selected work for 2015 Swell Sculpture Festival

Budgie Smuggler is the first work of a series entitled slang, reflecting upon other, often unintended meanings behind popular Australian expressions. Synonymous with Australian beach humour, the term budgie smuggler unintentionally masks the desperately tragic plight of wildlife trafficked every year within and beyond our borders. Bird wildlife are fiercely protectively of their kin, often flocking to a site of distress of those trapped or injured - a commotion ensues, helping to scare predators away. The work contemplates our own position and action in response to our captive feathered friends. Budgie Smuggler is a soft resin/silicon, cotton material, fibreglass and recycled object based artwork.

Reproduction of painted portrait of Marcus Elias Marcus, age 76. Portraits Men

Digital Image

Painted portrait of Hendel Meyerhof nee Behrend Portraits Women

Digital Image

Painted portrait of Hirsch (Zwiven Israel) Oppenheimer with his wife Johanna (Chana bat Schmuel) nee Enoch. Portraits Couples

Digital Image

Painted portrait of Roeschen Dux nee Abraham Portraits Women

Digital Image

Reproduction of painted portrait of Marcus Elias Marcus, age 76 Portraits Men

Digital Image

Handwritten dedication on verso of reproduction of painted portrait of Marcus Elias Marcus.

See F 83565, Reproduction of painted portrait of Marcus Elias Marcus, age 76