The New Contemporary Art Magazine

Tag: 3D-printing

Andrea Salvatori subverts art-historical themes and motifs in his sculptures, reimagining the interior of Renaissance-style figures or unsettling forms emerging from pottery. He moves between traditional and digital means to execute these works.
Whether rendered life-sized in resin and paint or smaller and 3D-printed, Nicholas Crombach’s figures explore our ties to the creatures of the natural world. The Canadian-born artist uses 3D printing as an extension of his past work and purpose, in a time when the contemporary tool is often used to create novelty items and irreverent, one-note sculptures. Services like Shapify have made the reaction of the human body a superficial process, while Crombach tackles something much older in nature.
Amsterdam based artist Danny Van Ryswyk has been getting a fair amount of attention here on Hi-Fructose lately, but when I recently told the editors of HF that I would be traveling to the Netherlands to visit Danny (Full disclosure: Danny is exhibiting at my gallery Roq La Rue) they took me up on my offer of turning my visit into a "studio visit" post for the blog. So, without further ado, let’s take a little closer look at Danny’s upcoming work, his studio process, and what makes his work transcend the typical 3D sculpture formula.
As hermit crabs grow, they require larger shells. Since suitable intact shells are sometimes a limited resource, vigorous competition often occurs among hermit crabs for shells. Japanese artist Aki Inomata, sympathizing with those forced out of their homes by larger crabs, sought to help them find a new home with her series titled "Why Not Hand Over a "Shelter" to Hermit Crabs?" Using 3D printing technology, she studied the natural shapes of hermit crab shells and printed out new "shelters" that the hermit crabs would move into (if they chose to). Their crystalline-like shells are shaped like tiny magical castles, houses, and other structures modeled after cities from all over the world.
What makes some of us feel repulsed may be a thing of a beauty to others. That seems to be the case with Buenos Aires based studio and artist collective Six & Five's latest work. The group has designed a beautifully disturbing series of digital creatures that they call "Morbo". Inspired by oceanic organisms, the Morbo are all that remain of a recently-occurred apocalypse, discovered on toxic beaches during low tide. They are strangely alluring in their hyperrealism.
Sprios Hadjidjanos makes the mostly invisible world of technology tangible in his artworks made with fiber optic light, wireless routers, and electronic circuits, among other modern technology. In "Networked Gradient," fire optics arch overhead in a darkened room, connecting wireless routers and creating a pulsing Arcade. The built architecture suggests the technological inventions of today are equally important to history as the development of the arch by the ancient Romans.
No matter how attractively someone is dressed, invading their personal space is never okay. Designer Anouk Wipprecht uses this concept as the inspiration for her Spider dress, a 3D printed, chic garment outfitted with micro-controllers. The dress' pronounced epaulettes feature arachnid-like, moving limbs that will jut out at anyone who gets too close. Wipprecht, who is based in the Netherlands, partnered with Intel to create the technology for this innovative, wearable piece.
A recent graduate of the Shenkar College of Design, emerging Israeli fashion designer Noa Raviv has already made waves with the debut of her fashion collection "Hard Copy" — a project that brings cutting-edge architectural and sculptural techniques to haute couture. Raviv worked with 3D printing company Stratasys to develop digital models that would serve as the inspiration for her work. She purposely chose the defective 3D models her software generated — ones that would be too structurally unsound to actually 3D print — to inspire her clothing patterns. The artist says she was interested in the idea of turning something that only exists in the digital realm into a physical object, surpassing the limitations of the 3D printer with the human hand. Dominated by grids that encase organic patterns, the collection articulates humanity's precarious position between nature and technology.
Opening on May 2, “Degeneration/Regeneration" features the paintings of Scott Greenwalt and the 3D-printed sculptures of the collaborative team of Smith|Allen (Stephanie Smith and Bryan Allen) at Oakland’s Loakal Art Gallery. It shows how artists mediate nature through art. It’s not a new concept, not by a long shot. But it’s a fertile and relevant one. On one level, the show serves as an environmental call to arms. Any recent image of industrial Chinese cities affirms the show’s significance. On another level, it shows the way that urban folk experience digital representations of the natural world. This digitization can take place with photos and videos posted on social media. Google Earth allows viewers can visit scenes of natural or otherwise exotic climes. Finally, video games often occur in hyper accurate landscapes.

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