by Hugo Arcier
I like the completely flat red against the almost classical marble bust. It’s like a Michelangelo sculpture mixed with a Fontana action painting. And like the Fontana sliced paintings this sliced head poses questions about the illusion of the picture plane and the object. How do you represent a —cut— in a digital image? You could disrupt the 3D space, like here by using a 2D flat high contrast and saturation color, which negates the illusion of 3D and brings a concrete physicality to the piece by firing up all the LEDS in your display to maximum intensity.
It is only when you start taking a very close look at the image that you start to see the 3D object and the 2D plane interfere more. The head is less solid than it looks from a distance or at low resolution; it seems to vibrate, to be immaterial, it seems to be constructed of projections, vibrate with data. The illusion falls apart to reveal pure energy behind it. I am reminded of the Matrix where Neo sees the world as the virtual construction it is, and of TRON where people are trapped inside a computer. But rather than the technical side this image evokes a sense of vulnerability, pain and loss.
This image is part of a series called “Vision from the past”. The start is a rough 3D scan of Hugo’s head using a hacked Kinect device. The scan, with all the errors and artefacts, is tweaked and lighted and rendered in Maya and processed in photoshop. It captures a moment or feeling, but seen through (the lack of) memory. It is the opposite of a clear (sharp) photo; the progressive erasure of a souvenir.
by Hugo Arcier
The download contains the final rendered and optimised image at 2666 x 4000 pixels, as well as wallpaper sized versions. A PDF outlines the process and background of the image. The 3D model that is the source for this image is also included, with a 3D viewer to interact it with.