3D Coded Targets for Photogrammetric Capture

The development, design and production of innovative 3-dimensional computer-coded target devices and object supports for use in close-range photogrammetry. A range of self-contained, scaled, multi-faceted targets that can be deployed in photogrammetric workflows to benefit capture and processing efficiency, and the accuracy and resolution of the resulting 3D models. There is the potential to patent these devices, and facilitate their wider production using Computer-Aided-Manufacturing technology, including novel multi-material 3D printing techniques, and new engineering-grade Fused Deposition Modelling polymers

Island

This work extends my engagement with site into a geo-political context, and is the outcome of an intensive exploration alongside fellow artists, of notions about international travel, translocation and exchange. “Island” is an architecturally-scaled, digitally-manipulated photographic image, developed specifically for the geo-political and environmental context of its exhibition site. The work utilises and conflates related iconographies across different cultural forms and levels - from historical genres of painting, especially epic landscape, through photography and cinema, to advertising and lifestyle imagery. It calls on literary and historical ideas of travel, journey and voyage, particularly the Romantic tradition of seafaring, the idealised conception of the ‘desert island’ and the epic ocean voyage as metaphorical ciphers for aspects of the human condition (Melville, Conrad, Golding). The work deploys photographic imagery on a cinematic scale, and utilises digital manipulation to propose impossible scenarios, setting up a tension between representation and apparent actuality, vision and experience. It relates to the photographic work of Jeff Wall, Andreas Gursky, Sharon Ya’ari and Ori Gersht, and the film work of Tacita Dean and Doug Aitken. It develops the potential of imagery as spatial experience - as well as illusion - using direct corporeal engagement with perspective, scale and sculptural form. The image becomes a physical container of its own illusion, one that allows the enormity of the ocean to become encircled by its own shore: The infinite to become an island, bound by a strip of land. The work tested the limits of what is possible in large-format digital image manipulation and output for the individual artist. I used the infinite canvas capabilities of photo manipulation software to push the boundaries of high-resolution digital print for this installation of experientially-scaled images of up to 5 metres by 10 metres

Forensic Capture - Digital Found Objects

A presentation of recent research and development in very close range photogrammetry for the highly accurate digital capture of challenging artefacts, and the production of high resolution, photorealistic, 3D models for the purposes of art production in a range of digital, material and hybrid workflows; and visualisation and analysis of objects in cultural heritage contexts. The presentation covered specific processes and methods to overcome traditional restrictions in the types, scales and materials of objects that can be successfully and efficiently captured using close range photogrammetry. It also gave an overview of a range of new and prototype equipment and devices for semi-automated capture using single full sensor DSLR cameras, motion controllers, adaptable object holders, and non-specular lighting, comparing these with other available systems in the cultural heritage and gaming industries

Annihilation Event

Annihilation Event has no singular origin, but many strands and streams. This is a project about copies, prints, scans, derivations, reconstructions, casts, and virtual models.The 6 day programme in the Lethaby Gallery will bring together a contrary group of artists, archivists, archaeologists, historians, technical experts and theorists from all over Europe. The scheduled events will operate as an experiment, an exchange, a chance to inhabit the Lethaby with a constellation of objects, machines, speculative processes and performances, an unprecedented opportunity for collisions and collusions.In particle physics, annihilation is the process that occurs when a subatomic particle collides with its respective antiparticle to produce other particles. A particle collision is a useful metaphor for the unruly and generative process of transdiciplinary exchange, of bringing disciplines and generations into contact: the productive ground of cultural participation. That exchange is something that we see at the root, or the radical, of art school present and future. Our 3D imaging project has produced a ruin of the Granary building and in that sense has un-formed our inherited institutional structures. What we are figuring out here relies not so much on the shell of a building, but on its infrastructures, connections and collectives built by affiliation: a facilitation of workflows.Rather than new critiques, it is new cartographies that we need.Cartographies not of the Empire, but of the lines of flight out of it.How is it to be done? We need maps. Not maps of what is off the map, but navigation maps. Maritime maps. Orientation tools. That do not try to explain or represent what lies inside the different archipelagos of desertion, but tell us how to reach them