21st century software techniques like UV maps and texture baking strangely mirror certain 20th century artistic experiments.
Some viewing notes for a commission I produced for the Southbank Centre in June 2016.
Nikita Diakur's "Ugly" project takes us outside the Goldilocks zone of animation into a complex world of nuanced glitch.
A summary of my crowd simulation residency at humainTROPhumain in Montpellier.
Learning a new piece of software can make you angry.
El Popo Sangre pushes the familiar net art/vaporwave tropes into more interesting territory.
A dissection of a tricky arts/tech collaboration.
The Digital Gothic, manifesting the trauma of the digital.
You don't need to be an engineer, an architect or even an animator to work with CGI, so why do so few artists know how to use CG software? Here's my story.
A report on my first week of research and development while learning SideFX Houdini. Thinking about transitioning between software packages, bilingualism and the creative function of software.
An introduction to the work of Colombian artist Alberto Lezaca.
John Gerrard uses realtime 3D graphics to address wider concepts of the virtual.
A review of Jonathan Monaghan's 2015 show at Bitforms NYC.
In early 2015, a tumbr purporting to show the latest breakthroughs in CGI spoofed the media and signalled the end of analog reality.
Moore's Law seems to govern the evolution of technology. Software gives us what hardware can handle. When artists work with cutting edge tech, they risk being yesterday's clickbait. Is today's tech art doomed to look like an error, or a testament to obsolescence?
A review of Constant Dullaart's show at Carroll/Fletcher, London.
An interview with artist and Lumen Prize winner Katerina Athanasopolou about her transition from 2D to 3D animation.
The lineage of luxury in art - from lapis lazuli, to bronze casting, gold plating or diamond encrusting - extends now to graphics cards, ray-tracing, skin rendering, reflection mapping and to processor speeds, hyperthreading, render farms and the complex world of outsourcing, government subsidies or mineral extraction.
A landmark collection of computer-assisted works screened together at the Austrian Film Museum in 2014. Curated by Robert Seidel.
CGI is like a big wonderful magic trick. The artists detailed here are reverse magicians, exposing the secret compartments of digital effects, shuffling drawers and finding curiosities. They make ambitious work alone or in small teams for little financial gain, pushing their hardware and software as far as they can go.
Where mundanity overtakes fantasy in the name of fidelity.
Today's bedroom fantasists use advanced CGI to create their perfect woman - or man. Here, we look at the phenomenon via the perverse and hermetic work of outsider artist Morton Bartlett.