Jeremy Gardiner

Veronica Falcao

ginestra — Thu, 14 Feb 2013 14:57:48 +0000

I started working with photographer Veronica Falcao in 1984 and since then she has documented my work in the studio and on location.

In 2001 she filmed Brazilian Archipelago, A Painter’s Palette, our expedition to the archipelago of Fernando de Noronha, 300 miles off the North East coast of Brazil. Rising from the ocean floor two and a half miles below sea level, an underwater mountain emerges from a turquoise sea, culminating in a high peak of rugged grey basalt-rock surrounded by 21 small islands.

Americo Vespucci discovered this archipelago in 1503 and in the summer of 1887 Henry Ridley from the Natural History museum in London made a study of Fernando de Noronha. After reading his letters and researching his archive at the museum, I mounted my own painting expedition to produce a series of plein-air paintings and Veronica made this short film.

Easel facing the Morro do Pico, Fernando de Noronha, Brazil

Jeremy painting Gineta Island, Fernando de Noronha, Brazil

Bruce Wands

ginestra — Tue, 05 Feb 2013 14:39:10 +0000

My collaboration with Bruce Wands, Director of Computer Art at the School of Visual Arts in New York dates back to 1998. Initially we worked together on a NESTA project and later I contributed to his book Art of the Digital Age, published by Thames and Hudson in 2006. In 2011 Bruce Wands and I organised the panel Digital Craftsmanship: How Artists Are Making Physical Objects From Virtual Data for the College Art Association Centenary Celebrations in New York City. Digital Craftsmanship looked at the ways in which artists employ digital design methods and fabrication processes ranging from 3D laser scanning to rapid prototyping to create their work. It surveyed research that encompasses the scientific examination of materials, the development of solid freeform fabrication, cross-fertilization of old and new technologies and the possibilities of new forms. We selected a panel of speakers from a variety of creative, curatorial and art historical disciplines who examined the relevant technological, cultural and aesthetic perspectives and the variety of practices and technologies being used today.

Laser Cutter at the School of Visual Arts, New York City

Art Of The Digital Age

Amanda Wallwork

ginestra — Tue, 05 Feb 2013 14:37:13 +0000

I have worked with the artist Amanda Wallwork since 2007 on Mapping the Coast, a research project centred on The Dorset County Museum in Dorchester and its geological and archaeological collections and archives. Specifically the research focuses on the geographical area of South West Dorset known as the Jurassic Coast. This is England’s first natural World Heritage Site, a 95-mile long stretch of coastline running from Orcombe Point in East Devon to Old Harry Rocks in East Dorset. The geology of this area spans the Triassic, Jurassic and Cretaceous periods, 185 million years of the Earth’s history. With the support of ACE, we examined 19th century archives and maps at the museum and were able to look at spectacular finds of one kind or another, from ammonites to plesiosaurs, brittle stars and plant-like forms called crinoids.

Dorset County Museum library

Examining 19th Century Maps

Dr Paul Thirkell

ginestra — Tue, 05 Feb 2013 14:36:28 +0000

The 3D relief print of St Aldhelm’s Head was developed with Dr Paul Thirkell, at the time Senior Research Fellow at the Centre for Fine Print Research, UWE Bristol. This relief model was made using solid freeform fabrication techniques or 3D printing, from a series of cross sections of the landscape. 3D printing or Additive fabrication is the creation of a new form through an accumulation of layers. Such printers work by ‘printing’ successive layers to build-up a sculptural object. The print was made for 3D2D3D: Object and Illusion in Print, an exhibition at Edinburgh Printmakers in 2010. This exhibition investigated the dual possibilities of creatively engaging with digital software and hardware to produce data that can be printed in both 2D and 3D. To explore this new transition, a selection of artists currently working in the field were selected to produce printed images and related printed objects that reveal new insights into image and object making through print.

Z Corp print

St Aldhelm’s Head 3D relief print

Jo Stockham

ginestra — Tue, 05 Feb 2013 14:35:14 +0000

I delivered my paper Sugar & Bones at Print in 3D, a symposium at the V&A in 2009 organised by Jo Stockham, Professor of Printmaking at the Royal College of Art. This symposium was part of a V&A series focused on innovation in contemporary printmaking. Print is increasingly a 3D medium, whether in physical space or digital space. A unique collaboration with the Printmaking Department of the RCA, the symposium offered a stimulating range of perspectives on the making, exhibiting and collecting of 3D print.

Delivering ‘Sugar and Bones’ V&A

Print collection V&A

Jan Rafdal

ginestra — Tue, 05 Feb 2013 14:33:54 +0000

I have worked with Jan Rafdal, artist and printmaker, on numerous projects since 2004. In 2009 we developed a series of work for ‘Imaginalis’, an exhibition at the Chelsea Art Museum in New York curated by Nina Colosi. The landscape of Norway has been an inspiring backdrop to our collaboration since my first visit to Jan Rafdal’s studio. Much of the imagery we create is based on landscape and is a fragmented multi-layered vision of coastlines. The intaglio monoprints, which we now do in different formats, are long strips that evoke ‘panoramas’, the immersive circular landscapes which were a popular form of entertainment in the early 19^th Century. Intaglio is a painterly form of printmaking in which each impression is unique as the etched plate is worked individually, and is made by adding colour or wiping the ink differently each time a print is pulled. To achieve the surface of these images we produce low relief elements to make the impressions, forming an area of texture by applying tile cement to thin plywood, and sometimes we use laser-cut three-dimensional low relief wood blocks or photo-etch steel plates with raised contour lines.

Snow capped Fjord, Haugaland

Island hopping

Print Atelier

Colour Mixing

Dr Gary Priestnall

ginestra — Tue, 05 Feb 2013 14:32:27 +0000

As Artist in Residence in the Geography Department of Nottingham University in 2010, I worked closely with Dr Gary Priestnall, an authority on the Lake District. My chosen subject was Cumbria and its waterfalls. Much of the research at Nottingham deals with alternative representations of landscape, often hidden (geology or sub-surface mining), or relating to historical and cultural perspectives often overlooked by the tourist industry of today. I had the chance to meet other faculty members to discuss their own perspectives on landscape. Together with Jake Durrant and James Goulding, Gary Priestnall and I developed the Projected Augmented Relief Models (PARM). PARM aims to combine the affordances of digital mapping and physical landscape models. The technique is designed to provide an engaging and informative situated display, offering an intuitive frame of reference for placing objects, activities or events into their spatial context.

The Lake District

3D scanner, Nottingham University

3D model, Scafell

Milling Machine

3D relief map

Caroline Orme

ginestra — Tue, 05 Feb 2013 14:31:33 +0000

During the summer of 2012 I started a project in collaboration with Caroline Orme and Martin Uren, faculty members at Ravensbourne, called Pave the Way. A 3D film that looks at the Jurassic Coast in Dorset through the eyes of a painter, a quarryman and a fisherman, each with a long-standing connection to the unique landscape of the Isle of Purbeck. This short 3D film invites viewers to immerse themselves in this unique scenery. The film, directed by Caroline Orme, was produced with the support of Ravensbourne College.

3D film rig, Swyre Head, Dorset

3D film Rig, the Downs, Swanage, Dorset

Dr Nick Lambert

ginestra — Tue, 05 Feb 2013 14:25:33 +0000

I have collaborated with Dr Nick Lambert, lecturer in digital art and culture, since 2004. Initially on the MIT press book White Heat Cold Logic as a contributing author and subsequently on Computer Art and Technocultures, an AHRC project at Birkbeck and the Victoria & Albert Museum with Doug Dodds, V&A’s Head of Central Services. White Heat Cold Logic looks at the early history of the digital arts in Britain and is the principal outcome of the University of London’s AHRC CACHe project. Spanning the period 1960-1980, it contains first-hand accounts and critical opinions of over thirty significant pioneers of digital arts. My own contribution to the book is ‘The Aftermath’ an essay about my work. ‘Ideas Before Their Time: Connecting the Past and Present’ was the symposium we organised with Dr Francesca Franco at the BCS (British Computer Society) in London.

White Heat Cold Logic, MIT press

AHRC project team

Victoria & Albert Museum, London

Ideas Before Their Time proceedings

Anthony Head

ginestra — Tue, 05 Feb 2013 14:23:02 +0000

I have collaborated with Anthony Head, software artist and senior lecturer at Bath Spa University since 2002. We have developed hybrid artworks that combine painting and drawing, computer animation and immersive VR, ambient sound and satellite data. These virtual artworks recreate whole worlds modelled in three dimensions which explore multiple perspectives of time and geology. Purbeck Light Years recreates the accumulated silent history of Corfe Castle in Dorset and presents a three-dimensional temporal world that can be dynamically viewed from different angles. To add to the mood, simulated weather systems come and go, night follows day and seasons change in real time. The topography and geology of the Jurassic Coast in England is the subject of Jurassic Light Years. Through the passing of time the panorama of the Jurassic Coast can be seen from many different vantage points as the landscape changes. Overhead, the sky displays the weather systems derived from meteorological data.

Purbeck Light years installation, Poole Centre for the Arts

Jurassic Light Years installation, Chelsea Art Museum

Digital Coast