Posted tagged ‘3D’

Ico(ne)sahedron

December 3, 2009

Yey I finished it!

Icosahedron with simple pattern cut out of it

Icosahedron with simple pattern cut out of it

It was quite fiddley but I felt like I was in nursery doing crafts again. It was so much fun putting it together. For some reason I decided to make life a little difficult for myself too by cutting a simple pattern into it which took tonnes more time but now you can see how the pattern relates to the shape and also a kind of indication of the 3D structure that forms an Icosahedron.

So continuing from last week the images below show the process for making it:

Icosahedron template

Icosahedron template

pattern on to Icosahedron

Cutting pattern into each face of the Icosahedron - which is made up of equilateral triangles

Pattern cut into Icosahedron template

Template of icosahedron with pattern cut in all faces. The thicker borders are where the tabs are for attaching edges to the neighbouring edge

Assembling the Icosahedron

Assembling the Icosahedron

So obviously as soon as I got that done I just had to start experimenting. I used my reflective sheets and cut-out from a few weeks ago and formed a quick sculptural piece similar to what I would submit for an installation. I laid this flat, turned the lights off and left the small PIR unit at the end of the cone like shape to allow the light to flow through this towards the icosahedron and onto the cut-out pattern below.

View from above

View of installation prototype from above

View of prototype head-on

View of prototype head-on - before main light is turned off

prototype side view

prototype side view in dark which is how it would be exhibited

prototype

Only the PIR light has been left on and creates the view seen here. There is a mix of shadows competing with reflections and larger areas of light and shade.

prototype close-up

Close-up looking into the cone like area to where the icosahedron sits

I like how this looked against the black of darkness. It conveys the high contrast I was after and allows the distinctive shapes to show clearly.  The reflection of light makes it much brighter and the shadows cast from the patterns much darker therefore it stands out with much more contrast and visibility. I also like the fact that the whole piece is surrounded in darkness and therefore allows it to seem like a standalone installation that could fit into a generic gallery space.

In addition to this it looks quite futuristic and space age – not really something I considered before. I may contemplate this at a later stage – whether I want to leave this aspect as it is or change or remove it.

I also realised that the shapes and lines and use of the cone shape remind me of architectural structures. This was reaffirmed when I received feedback in which a similar comment was made.

I don’t think the photos do this piece justice though. It’s meant to be viewed in its physical form with the naked eye. In trying to capture it as an image it loses some of its awe. The good thing about it being a physical and 3D piece is that it encourages the viewer to move around it and explore it from different angles. By doing this the view changes with shapes changing according to the direction of light and casting of shadows and reflection.

I think for this point of the course – with the Unit 1 assessment just around the corner – it’s a good thing I’ve been able to experiment with the shapes and lighting even if it is still only the early stages of this.

The set-up of all the parts and the addition of the lighting meant a lot of time has to be set aside for this in future.

My next objectives are to:

– Do more research into lighting – especially motion sensitive options.
– Look into stronger materials for another prototype.
– And sooner or later I will need to pick my final pattern – which I will need to convert into a vector image suitable for use with the laser cutting machine.

Excitement begins

October 3, 2009

I am experiencing a surge of brainstorming (I am told this is no longer a P.C word but I can’t remember what the new term is so no offence to anyone) in relation to the work I must complete by December for my assessment.

We’ve been told we should have something along the lines of a proto-type complete for that stage in our course but with all these new and exciting ideas I want to have more than just one project outcome.

I am very excited about creating the physical pieces that reflect the research I’ve been doing for the last year and have been particularly thinking about the space in which my work will be displayed,shown or installed.

There are many different ways a person can present their work and these have inspired me to think of all alternatives – not just as Plan B’s in case my main work doesn’t turn out how I wish but also as accompaniments.

At the moment I am contemplating having 3d shapes with patterns either on, around or made up from the patterns. It’s hard to explain this so I’ll leave it to when I have some pictures once I get experimenting with the shapes.

I have been doing some very bad sketches in my notebook in order to consider how lighting needs to be placed within a rectangular room for example. There also the need to consider where a person might enter from and how they may navigate through the space according to what first comes into their sight. This is very important because I am planning to have my work illuminate itself based on the viewer’s movement into the space. They need to be able to see where to go for safety reasons but it also needs to be dark enough for the light to make the right kind of effect when it comes on. I also need to consider if my work will be one large focul piece or made up of three or four pieces.

Page 1 of sketches and notes

Page 1 of sketches and notes

Page 2 of sketches and ideas

Page 2 of ideas

These sculptures/shapes also need to fit to either the walls, floor or ceiling but with the light source either pointing towards or from behind them. Once again I won’t know which is best till I try it out. The light source itself is also something I am looking closely into. In my last tutorial Andy and I discussed sensor activated lighting and he agreed this may be the right thing for me to use. I’ve had a look at PIR lighting products and am trying to find something wireless which would be less of a safety concern as well as less shabby looking once up. Pricing is also a factor and how it might be fitted to walls/ceilings.

Another really cool idea I had was to have a sort of very large 3d hollow shape, perhaps made from card or papier mache (or maybe something a bit like stiff canvas or whatever is used to make lampshades), hanging from the ceiling but high enough off the ground to allow someone to pass under it. As they would come closer it would light up and then they would be standing beneath it. When they look up into the work they would see layers of shapes cut into the material and these would overlap so that the shadows and holes would create an ever complicated pattern. What I imagine in my head certainly looks quite spectacular. I wonder if I can actually achieve it.

It reminds me of the Muqarnas found in many mosques around the world, some of the most famous being at the Al-Hambra in Spain and at the Imam Mosque in Isfahan, Iran as seen in the image below. It is a very interesting architectural feature which I will just show you instead of trying to explain:

Muqarnas at the Imam Mosque in Isfahan, Iran. Image from http://www.musliminventionsthailand.com

Muqarnas at the Imam Mosque in Isfahan, Iran. Image from http://www.musliminventionsthailand.com

And yet at the same time what I have imagined also reminds me of a kaleidoscope. As my youngest sister was sitting next to me as I jotted this down I asked her if she knew what a Kaleidoscope was. She’s ten years old and, well, her generation is quite different to mine so I can well imagine that they aren’t likely to be as familiar with a non-electronic/digital toy such as a good old kaleidoscope. And I was right, she didn’t know what it was so I did a quick search and had a look through google images as I explained it to her. I then came across this very interesting image of a human mirrored kaleidoscope:

These kids are clearly having fun, and it means they are engaging with the space too. The effect is brilliant and I think if I could adopt this in some way but have my patterns in there too then it would just be sooo good. But I’m not sure if it would be over ambitious for me to go down this route, least of all because I’d have to actually build an enclosed space with mirrors inside. Or maybe I could make a cheap and tatty/plasticky version? We’ll see. But the use of mirrors is certainly worth keeping in mind.

All in all I am really getting into this and I knew it would be the stage I would enjoy the most. I may be thinking about some of the aspects of the installation a little to early but this is how I have always worked – I like to get down to the nitty gritty much in advance so that I have contingency time as well as other work in place if needed.

Don Relyea – Q&A

October 18, 2008


http://www.donrelyea.com/hilberts_2007/15_03.PNG

Well I emailed Don Relyea as I said I would (https://qunud.wordpress.com/2008/10/11/don-relyea-artist/) and very kindly he responded in detail with some very interesting answers and observations:

I really like your work involving the generation of geometric shapes with programming in interactive applets. What would you say triggered your desire to use these types of shapes in your designs?

Since most of my work is created in some kind of programming language, it is natural to describe shapes and forms with math and both 2d and 3d geometry. I have always enjoyed math. From about 1999-2003 I developed severe sleep apnea, this deprived my brain of oxygen and meaningful sleep. Over that time I began to lose the ability to do math, solve complex problems, and even routine programming exercises became extremely difficult.

I thought I was losing my mind. When I figured out what was wrong and started treatment, it was as though I had just emerged from a thick fog into daylight. I immersed myself in math and exploratory programming with a new found zeal. The recovery and subsequent rediscovery of my love for math was the catalyst for the burst of abstract geometric and space-filling curve works.

Considering how much emphasis has been placed on geometry in the past and the desire to create artwork based on exact measurements of shapes (e.g the use of golden ratio), where do you see geometry fitting in contemporary art?

Geometry will always have a place in the world of contemporary art. Successful artists are successful manipulators. Geometry is a great foil for manipulation. Why is it that people are drawn to compositions with certain proportions? When something is out of proportion, why is it so jarring?

I think that a lot of the answers to these questions lie in neuroscience and the way our brains are wired to recognize patterns and forms. There have been a lot of recent studies that show that we have at a minimum 2 brain functions going on at the same time, the executive mind and the habitual mind. The executive mind is what we engage when we encounter something new or need to solve a problem, the habitual mind is our autopilot. This is not a new concept, ancient Zen masters were aware of this. The habitual mind is programmed through repetition to detect patterns and shapes and it keys in on certain proportions like golden ratios, facial symmetry, etc. As an artist you can play with this feature in your viewers brains to evoke a response.

Mark Mothersbaugh’s current exhibit at LACDA titled “Beautiful Mutants” is great example this manipulative technique in action. http://www.lacda.com/exhibits/mothersbaugh.html
In “Bottom Heavy Pug” Mothersbaugh is challenging both the executive and habitual mind simultaneously, the picture looks enough like the original that your habitual mind immediately identifies it as a dog. Your executive mind also immediately recognizes that there is something proportionally awry with the picture. The internal conflict makes the picture memorable and engaging.

Bottom heavy pug by Mark Mothersbaugh

Along the same line of reasoning, works that are geometrically exact are equally engaging. Geometric perfection is actually quite rare in nature and we can recognize when a form is artificially perfect. In “Bottom Heavy Pug” the vertical symmetry is exact, we recognize that this is uncommon and take note.

I’d like to take this opportunity to thank Don Relyea for taking the time to answer these questions, and with such detail 🙂

There are loads more interesting projects he is working on, so once again I recommend a look at his site. In particular I’ve just noticed this project based on html layouts and table based html structures which actually form interesting imagery when viewed in a browser: the reductionizer.

Bathsheba Grossman

October 16, 2008

I’ve just found a great site and some great artwork. It encompasses a large idea I had of producing some of my own designs in some kind of 3d form, as well as the theories on which my research is based. It also relates back to the image in one of my earlier posts where I mentioned the ideas of Donald (H.S.M) Coxeter and showed how a hypercube could be evolved to a higher dimension of shape.

600 Cell by Bathsheba Grossman

600 cell – http://www.bathsheba.com/math/600cell/

Snub 24 cell by Bathsheba Grossman

Snub 24 Cell – http://www.bathsheba.com/math/snub24cell/

Grossman also mentions the subject areas that I am interested in exploring in my research and which will link to geometry.

Grossman says:

I’m an artist exploring the region between art and mathematics, and this is my gallery and storefront. My work is about life in three dimensions: working with symmetry and balance, getting from a zero point to infinity, and always finding beauty in geometry.

That’s to say, I like to think about shapes, and occasionally I think up a new one, and usually they come out very symmetrical.

http://www.bathsheba.com/artist/

I highly recommend visiting the site http://www.bathsheba.com/. Grossman explains that her motivations for creating the metal based sculptures are far from commercial and she simply prices her work in order to make it available to anyone and not just those with large amounts of money. She also explains her working process, conveys her working space through images and descriptions and allows visitors to her site use of her 3d-print images for furthering their own practice in creating similar work.

Grossman tells us of her efforts to find a suitable solution for creating her work and does so in a very open manner. The site is written and maintained in her own words and not through a third party. All these elements combine to give a very friendly perception of her personality and her work and just a strangely comforting good vibe about her intentions.

Regardless of all this, I think the work is remarkable. The 3d forms allow for different angles and views of the pieces, each time making them look a little different, and also for the effect of light and dimness to show the deeper cutouts and interlacing of sections. This adds to the look and feel of the sculptures and the complexity makes them look like inverted mazes that you’d want to shrink yourselves into in order to explore.

Hmm perhaps a maze is something I can work with? Will develop this idea later me thinks.

Identifying a line of inquiry – which one?

October 11, 2008

On my way to uni on Wednesday I decided that maybe it would be a good idea to formulate my ideas and project aims and objectives as best I could. I started writing notes most of the journey and, as it had been about a week since I had fully concentrated on summing up my project in such a way, I think it helped to make it more structured in my head. I was able to sum up the links a bit better than before. This is what I came up with in relation to the two key words ‘Shapes’ and ‘Space’ being components of a possible working title:

The first two words are key as they sum up the elements that the areas of research I will be looking at are anchored by. In other words you can always relate the subject areas, I am interested in, back to one of these words if not both.

We usually think of shapes as pre-defined areas of outlined space that have specific names. We’ll grow up knowing that these named shapes have properties that allow the shapes to be classed within certain gropus of shapes too. So a square is made of of 4 right angles at each corner and 4 sides. A triangle with three sides and of various angles and combinations of these.

But can a shape alway be defined? And should it be defined? And how about those shapes which have properties or characteristics that are overlooked? And which characteristics should we look more closely at because they’ve been overlooked in the past?

The second key word is space. My use of the word implies many senses of space including the mathematical and the scientific (these I believe overlap in some sense), as well as the physical, perceptual and conceptual. I cannot restrict my meaning at this point. I have no reason to restrict until I have conducted more research and found a reason to do so.

What about white space? Is it real? Does it mean something to everyone? What is it’s role? Is it intentional? Should it be identified in more places?

An area of study that connects to this idea of space around shapes (and here I wonder – is this space not then a shape too?) is that of Geometry. These shapes are formed from vertices (easier to think of as dots in an invisible grid of any size). These vertices may then be connected with a line from one to another. these lines will be joint in such a way to form a shape. Various shapes are then placed together to form a larger formation. They could arguably be described as a system of shapes. This system could be called a pattern. these patterns can then become quite complex and due to their placement, repetition and possibly the ability to tesselate them – they can be endless and seem to go on for infinity.

One of my biggest aims in my project is to look into the history of Geometry – how it was developed and how it has been used over the centuries (more specifically in art work).

Then there is the branching off of Geometry in nature. I think this is a highly important and interesting subject to delve into. Not only because it entails many mysteries and brings into question the secrets of the Universe. But also because there is a tie with religion and sprirituality which is something that I can relate to on a personal level. Believing in God means that when I see the beauty of nature and proofs of perfection in nature (such as the way the body works and the structures and symmetry in plants and flowers to name a couple) I link it to Divine Creation. This is another aspect I would like to look into further. Especially as belief in this isn’t restricted to just one religion.

Geometry allows for the representation of space in 2d, 3d and even 4d and beyond:

Science.ca - Donald (H. S. M.) Coxeter, Pure and Applied Mathematics

4. Hypercube: If you pull a cube into the fourth dimension you get a hypercube. Eight cubes make a hypercube. The figure you see here cannot exist in the real world, which only has three-dimensional space. It is a projection of a four-dimensional object onto two dimensions, just as the cube before it is a projection from three-dimensional space to the two-dimensional flat surface of the paper.

5. Regular polytope: If you keep pulling the hypercube into higher and higher dimensions you get a polytope. Coxeter is famous for his work on regular polytopes. When they involve coordinates made of complex numbers they are called complex polytopes.

http://www.science.ca/scientists/scientistprofile.php?pID=5&pg=1

These main topics then branch off into other areas but are still anchored by the main theme of shapes, space and I guess now geometry too. By always having my main question along the lines of ‘ the place of geometry in the world around us’ I will have something to refer back to. Is that what I am looking at? Am I any closer to finding the answer? Am I looking into something that is relevant or have a veered off too far down a small cobbled street?

Outcomes for project: My background has been predominantly in expressing some form of communication and his has been mostly interactive. I would like to continue this by producing work that compels the user/viewer to become involved with it. I believe that the most interactively creative works are those that captivate the viewer and involve them within a process. This can be in many forms such as when using sensors to trigger some kind of behaviour or change in the work (lighting, sounds etc). This could be on an abstract level too where triggering thoughts and movements in people and influencing these is enough of a form of interaction. Only that this can be more difficult to measure.

However, my interpretation of an interactive work would be using multimedia as a possible option. My work has always been either viewable of a computer screen (short video clips), graphics, websites. Or viewable on some form of small physical and traditional media such as paper or canvas. I would really like to create some sort of installation to take my experience and work to the next level or beyond for this project. This installation would be my blank slate. Possibly like a box or container that allows a person to fully submerge themselves within it – literally or mentally. The key is for it to be thought provoking. I would want the person to question their surroundings, the purpose of the installation and investigate it too. Possibly manipulate their thoughts by pre-determining the factors the could influence their senses and perceptions related to the space around them.

And that is the end of my notes from my journey to Uni. Yes I am one of those people who can write loads of notes whilst travelling on the tube/bus/camel 🙂

We had a sort of informal feedback session after one of the Critical Framework lecture where we were required to write in one sentence what our project was about. I knew it would be a bit crazy to even attempt this so I decided to use the key words to form almost a sentence. I came up with ‘Shapes and space – the place of these and geometry in the world around us’ using my notes from the journey in. It could be the closest I’ve got to a working title yet so I just let that be discussed in the group.

After some discussion with Andy (course leader) and some feedback and questions from fellow students it would seem that perhaps I should narrow my field of research down a tad bit so that I can concentrate on finding the niche in which my project would excel. Something no one else is questioning, expressing or even addressing. Or maybe they will have but I’ll be doing it from a different angle? a unique p.o.v?

Only time will tell.

Mirror mosaics

October 10, 2008

I was just doing a quick search to see what kind of artwork is produced by artists in the style or influences of Islamic art. One artist’s work I’ve just seen is Monir Farmanfarmaian

Hexagon - Monir Farmanfarmaian

If you look closely you’ll notice that there are small pieces of mirror that have been placed together to form cubes, which combined with the reflective properties of the materials used give the overall piece a unique effect emphasising the 3d aspect of the shapes formed. I’m quite taken by Farmanfarmaian’s other peices too. These can be viewed from this page: universes-in-universe.org – Monir Farmanfarmaian

Here’s another one I really like:

Cubes within cubes by Monir Farmanfarmaian

The tessellation of small mirror pieces works wonders in this peice. At some point I’d like to see how mirrors could be used to effect lighting, and how this in turn could effect someone’s perception of a space. Hmmm…a million ideas forming again and I can’t get them all down -one second they are there the next they are replaced by another!!! Oh well if they’re of any use then they’ll come back. Hopefully.