Make Art Real

The Make Art Real project aims to introduce new audiences to the arts. It supports Theme II of VCU’s Quest for Distinction by promoting and fostering creative expression through innovative collaborations. The project involves displaying existing connections between art and non-art disciplines, as well as making new connections. These unusual pairings are then placed on exhibition through a lunch-time lecture series named “Unexpected_Connections,” which allow faculty, staff, and students to lead and participate in discussions about the reality of art. The lecture series is the first sustainable and reoccurring program to be held in the Depot building, a multidisciplinary facility which is intended to foster interdisciplinary collaborations. The targeted audience includes faculty, staff, students, and members of the greater VCU community

An examination of the physical and temporal parameters of post-physical printmaking practice: exploring new modes of collaboration, distribution and consumption resulting from digital processes and networked participation.

This research was initiated by questions raised from the researchers professional activities in fine art printmaking and examines, through contextualised artistic practice and critical enquiry, redefinitions in the physical and temporal parameters of digitally mediated fine art printmaking caused by developments in digital media; specifically the impact of digital culture, Web2.0, social networking, augmented and virtual reality. Grounded on critical contextual review the research explores, through contextualised research probes, the notion of post-physical practice and the impact of new modes of collaboration, distribution and consumption on contemporary printmaking. It includes the findings of an international, digitally mediated, participatory and collaborative exchange survey of contemporary digital print, developed through direct enquiry using social media as a research tool. Philosophical questions about the impact of eculture, post-physical working and new modes of print-based artistic practice were examined, as well as the indexicality of the print itself in augmented and virtual contexts. The research employs dynamic triangulation between critical contextual review and direct qualitative and practice-based research; to develop a taxonomy framing the contextual precedents of digital printmaking, pinpointing key markers of transition between traditional and new printmaking. It uses post-studio methods and explores the conception, production, editioning, collection and ownership of print in an increasingly networked digital age, providing proof of concept and exploring virtual immersive surfaces in printmaking. These lead to the development of new models for a second generation of printmaking practice or Printmaking2.0 expressly founded in post-physical practice in a poststudio context and embracing the lingua franca of contemporary digital practice in the production of born digital virtually imprinted forms. In both, the technical practice of post-physical printmaking and the significant artistic implications resulting from the cultural shifts following digital participation and post-physical embodiment

Anachronistic dystopias : constructive tensions between digital and analog imaging

The processes of constructing images that take the intersection as artistic strategy encompass much of the current production in the visual arts. This article discusses the recent productions of Flavya Mutran and Jander Rama, whose practices move between the anachronisms of the processes of analog image production and the dystopian vision related to advances in digital images. The transition of these productions through printmaking, drawing and photography raises questions about the stresses and displacements of the subject in contemporary art, caused by the clash between old and new technologies

Building codes: mapping technology and tradition

This thesis examines the crossroads between printmaking and digital technology as our culture shifts towards a more digital media focused existence. As technology shifts art-making more and more away from the analog creation process towards a more digitally mediated one, printmaking’s history stands out among other traditional mediums as well suited to embrace the transition whole-heartedly. By using the analogies of the matrix, the map, and the building, this body of work creates a bridge from the historical and time-tested approaches of printmaking towards the future of the art form; a chimera of technology and tradition

Imperceptible Realities: An exhibition – and – Digitalisation: Re-imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis

This PhD practice-led research project provides a broad overview of how newer print technologies can bring about enhanced understandings of the world whilst simultaneously questioning the value of such processes in contrast to traditional means of image making. My curiosity pivots on the worry that something essential about representation of the real might be lost if humanity were to embrace digital methods only. Through my creative project I address my concerns to re-image representations of the real beyond notions of the original and the copy through contemporary printmaking. The research culminated in the exhibition Imperceptible Realities and an exegesis. In examining Jean Baudrillard’s concept of simulacra this research argues for the continuing relevance of traditional etching techniques through a pivotal case study that scrutinised Rembrandt van Rijn’s etching The Shell (Conus marmoreus). In contrasting traditional etching techniques with newer methods of digital printmaking a significant copy, derived from a similar shell specimen that Rembrandt had observed, manifested itself in contemporary 3D print. The copying process focused the investigation into questioning the aesthetic value of this new shell in digitalised 3D form. In the contemporary printmaking field there is evidence for the continued integration of traditional and digital approaches to printmaking. New pathways were examined in printmaking to allow creative explorations of visual boundaries between contemporary images affected by digital erasure. The innovative use of photogrammetry software focused the investigation into the effects of digital capabilities on image making. The effect of examining the digital relationship in contemporary printmaking revealed that ignoring aesthetic differences between the original and copy brought about by digitised re-imaging are seemingly lost at the expense of disengagement with the physical world. As a result digital and traditional spaces that meet collaboratively through print are advantaged in the 3D printed copy itself and employed to create new understandings in creative practice. Viewing observed differences in the 2D and 3D printed copy itself became key in creating new images, beyond a hybridised printmaking process—such understandings that examined the divisive relationship between digital and traditional printmaking processes becomes invigorated with possibility. This research posits such a position by suggesting that if traditions in the printmaking field are ignored by the continued digitalisation of images through and within the employment of technologies, something is lost. Perceptual experiences of the physical world are seemingly misplaced at the expense of replacing such immediate experience with simulacra and an inward bias toward the screen. Adopting a practice-led research methodology revealed the subtleties of the ongoing relationship of digital capabilities affecting the materiality of traditional printmaking. The applications of innovative interdisciplinary discoveries to my contemporary arts practice drew on strong partnerships and collaborative relationships developed with the fields of chemistry, engineering and science. I applied these discoveries to my contemporary arts practice to examine the effects of digital capabilities and the materiality of traditional printmaking. To embrace conceptual growth creative work the research drew on philosopher Gilles Deleuze and psychiatrist Félix Guattari’s notion of the rhizome. The presence of simulacra in the world has continued to expand as digital technologies proliferate. The application of traditional printmaking and digital printmaking through open thinking offers a different way to understand physical aspects of the world and create propositions that go beyond re-imaging the real

Collaborative digital and wide format printing: Methods and considerations for the artist and master printer

This thesis investigates the collaborative production of fine art digital prints for artists,a process which is used by many contemporary practitioners including RichardHamilton and Damien Hirst. Digital print as a fine art process has emerged over the last twenty years, and as yet, there is no in depth evidence on the collaborative endeavour and production process which is central to the digital Master Printer’s role.The investigation first establishes the historical context and significance of the Master and Printer in traditional printmaking, and the more recent development of the digital print studio and the digital print pioneers of the 1990s. A series of seven artists’ case studies in the context of the collaborative digital print studio are then offered to demonstrate the working process. The analysis of these proposes a best practice model for Master Printers working with contemporary artists to produce high quality, fine art, wide format inkjet digital prints.The study also compares production methods at the cutting-edge digital facility of the Rijksakademie in The Netherlands, to assess the validity of the practices proposed through a facility closest to the study’s research base at the CFPR’s digital studio. The comparative study also explored the expanding digital production process and the role of the Master Printer. Evolving production processes are also considered in this study as a response to the advancement of digital print technology alongside a practical exploration of what actually constitutes a digital print in this rapidly expanding field of fine art printmaking.This study aims to reveal the inner workings of the digital collaborative process between the artist and Master Printer, and appraise the digital Master Printer’s role.It offers a set of best practice methods for the digital Master Printer developed from this research. The study also considers how the digital print, and the digital print studio may evolve in line with current and future developments in new technologies

The art educator's role in technology education

Includes bibliographical references

Remnants: Within an age of digitalism

21st Century civilization allows a glimpse into the progressive art paradigm that encompasses our constantly transforming technological advancements. These ideas explore the global network of our modern times and the interrelated possibilities within it. My collaborative and interdisciplinary methods give a glimpse into the future of digital/print media, augmented reality, and interactive environments. My artwork explores the hybrid, identity, culture, and an evolving reality within an age of Digitalism

Introducing advances in non-toxic intaglio printmaking at the Centre for Visual Arts UKZN through practice based research.

Master of Arts in Fine Art. University of KwaZulu-Natal, Pietermaritzburg, 2018.This study investigated the reduction of hazards in intaglio printmaking through practicebased research of non-toxic etching and intaglio materials. Traditional etching techniques involve health, safety, and environmental hazards that can be minimised by using alternative non-toxic materials and processes. This study investigated the potential of using non-toxic intaglio printmaking methods in place of traditional methods at the Centre for Visual Arts (CVA) at the University of KwaZulu-Natal (UKZN). A review of literature on non-toxic intaglio printmaking revealed a gap in non-toxic research specific to the South African context. A case study of a Belgian non-toxic printmaking studio was conducted over a period of three months, which enabled practical non-toxic printmaking experience to be compared with traditional printmaking methods. Qualitative data was collected through artistic practice, observation, interview, and collection of artefacts. The non-toxic alternatives were found to be capable of achieving the visual effects generally associated with traditional etching methods and materials, while reducing the number and variety of hazardous materials present in the printmaking studio. General Systems Theory was used to analyse the ‘parts' which comprise the ‘whole’ etching system. The processes and materials used in etching were studied as parts with interrelations that are used as a means of artistic production. By isolating these parts and systematically testing alternatives, a non-toxic etching method was developed for the CVA. This practice-based research process resulted in a series of printed artworks. These works explored relevant themes including toxicity, disruption, the overview effect, and the impact of human activity on the earth system. The works incorporated traditional and high-altitude perspectives of mining waste sites which were identified as disrupted South African landscapes. In these landscapes, toxic chemical waste and extractive mining activities had changed the environment dramatically. The disruption of the landscapes depicted in the printed works is a thematic extension of the disruption of traditional printmaking methods through the introduction of non-toxic methods. This disruption improved safety by reducing chemical hazards in intaglio printmaking practice, and contributes to making this mode of artistic practice more sustainable