Work Chosen to be part of (Un)seen Sculptures 3D augmented reality art show

LINK: http://www.unseensculptures.com/

In April this year, (Un)seen Sculptures, a mobile 3D augmented reality art show will be staged in locations in Surry Hills, Sydney (as part of the Surry Hills Festival) and around the Melbourne CBD.

Situated in these locations will be virtual digital works; hidden from the naked eye but visible to anyone with an iPhone, Android or Nokia smartphone and an app called the Layar Reality Browser, that can be downloaded for free from iTunes, the Android Market or the Ovi Store.

Once they have downloaded this app, people can simply open it up, search for “unseen sculptures”, select the layer set up for the show, then hold up their phones at the designated locations, and they will see 3D artworks that they can walk around, explore from any angle and even interact with.


The show will feature works by Australian artists and international visitors from as far afield as the USA, UK, China and Portugal. The pieces themselves will traverse a wide range of styles and subjects: anything from characters from a traditional Chinese version of Romeo and Juliet lost in the metropolis; to an infestation of psychotropic toads; to a singing virtual tree; to an 18th-century GPS device.

Optica12

I finally got out last night and shot the work up at the Judith Wright Centre of Contemporary Arts. Its great to see ones work up in a public space, and one cant get more public than Brunswick Street in Fortitude Valley.My being accepted into Optica12 is an opportunity to expose what I see as the beauty in the action of digital sculpting as well as re-looking at the aesthetics of the skull. It legitimises my medium and practice as a three dimensional digital sculptor. About the installation: SphereForms_01 (2010)2Min's: Seeing how a piece evolves from its primitive form is one of the most fascinating experiences of any practicing artist. This piece is part of a series of digital sculpts in action, based on the conceptual simplifications that have directed the ways of seeing for all visual artists. The practice of using a primitive shape as a guide to modelling or drawing more complex forms is well documented. In Bridgman’s Life Drawing, he instructs on simplifying forms to aide memory. He defines the processes of seeing the masses of the human body by breaking them down into square and round shapes. In this series of studies, my focus is not on the resulting sculpture, but on the relationship of the sculpt with its initial primitive starting form - the sphere. No two spheres are sculpted in the same way. Each piece cycles from the sphere to the complex form of a human skull, then devolves back to its basic form. The skulls are revealed though several view points; inferior, anterior, lateral and posterior, while still concealed by surface pixilation and the rapid movement of the projection.

Whale Cairn Space

I finally finished off my Whale Cairn Space, using the Unity 3.2 engine last night, it looks/feels exactly as I had hoped and combines the whale pieces that I captured in Oxford UK and on Frasier Island QLD - I have now reinterpreted the original forms and re-esxplore them in these scenes.
I plan to set up a download page on my sculpt-forms website for this piece as well at the BlackBird Space so people can explore the works.

Unseen man pieces:

The UnseenMan:




The piece consists of two sculptures which is part of an ongoing series of digital sculpts looking at aspects of human anatomy, the piece is based off of photogrammetry data of a hominid skull that I shot/captured in the Pitt Rivers museum in Oxford. The concept for this piece, stems from the fact that the skull is very recognisable to us (along with its associated macabre stereotypes), but if we displace or shift the skull to a differing angle and yet still place the skull on a body, it becomes quiet alien and other worldly.

I have had the sculpts printed through Shapeways in the Netherlands - all to be part of my exhibition which will take place in June here in Brisbane.