Red Elixir Exterior Esplanade/ Concourse Esplanade/ ADM NTU/Post-Museum
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| Fascination with ever-growing urban landscape is documented by using Panoramic and wide angle photography. 'Singapore City Scapes,' Photography by Quek Jia Liang |
ABSTRACTION IN VISIBLE
… on art visualizations and Public Art proposals in Singapore
According to aesthetics of Benedetto Croce, real artistic invention develops in that moment of intuition - expression that is wholly consummated within the creative spirit, while the technical expression, the translation of the poetic phantasm into sound colors, words or stone is merely incidental and adds nothing to the work. It is in reaction to this persuasion that contemporary aesthetics has re-assessed material. Beauty, truth, invention, and creation do not lie solely on the side of some angelic spirituality, they also have to do with the universe of things that can be touched and smelled, that make sound when they fall, that are drawn downward by the inescapable law of gravity, that are subject to wear and tear, transformation, decay and development. While aesthetic systems engaged in profound re-assessment of the importance to work ’on’ ‘with ‘ and ‘in’ material, twenty-century artist often gave it their exclusive attention, which grew in intensity the more the abandonment of figurative models pushed them into a new exploration of the realm of possible image and forms. Thus, for the greater part of contemporary artist material is no longer the body of the work alone, but also its end, the object of the creative discourse. The style of painting known as ‘informal’ marked the triumph of splashes, cracks, lumps, seams, drips, and so on. (Eco, 2004, p. 401)
Digital Prototyping and Printing
Throughout the design process and research, digital prototyping was used for art visualizations of Public Art design proposals in Singapore’s various outdoor and indoor architectural settings.
Panoramic and wide-angle photography documented numerous urban and architectural locations in Singapore to be repurposed for digital art visualizations. Photorealistic renderings and short ‘fly- through’ animations of compositions were done as a part of visualization. Autodesk® Maya® software was included to design, iterate, validate, and visualize art compositions digitally.
'Elixir or Redness'/Exterior Esplanade 3 D Virtual Visualizations
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Proposals for Esplanade Exterior |
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Grand in scale and opalescent it is consisting of modular transparent red voids that are changing its phenomena depending on the light and atmosphere. The light reflected of the transparent surface and present color creates new interference patterns thus giving form to the invisible. Elixir of Redness is depending on existing architecture, counterbalancing it with the seamless mix of technology and image’s painterly aesthetic. |
Contemporary painting practice is not taking advantage of integrating traditional painting methods of abstract painting with available digital prototyping and printing devices to create high impact artwork in public space. Usually outcome of digital painting is dull digital print that lacks traditional art forms physical presence interest and excitement. To avoid that the aim was of customizing unusual materials and transferring digital images to absorbent, non-absorbent and three-dimensional surfaces. Layering digital painting within virtual and real urban public space originated extraordinary art visualizations extending beyond traditional canvas. Working on an architectural scale created an even greater physical presence of digitally generated images. Once imagery is combined with outsized and multidimensional surfaces, the creative possibilities become vast and influence applications of new emerging technologies. Parallel with digital visualizations and prototyping experimenting with wide range of numerous uncoated flexible and rigid substrates was possible with the help of specialized large format UV curable flatbed inkjet printers, - UV VUTEk ® QS2000 series and Mimaki JF Series, perfecting ultraviolet (UV) curable inks . A number of physical prototypes were test-printed using various printing substrates (rice paper, textiles & dye sublimation, textured canvas, metal, acrylic polycarbonate, Dibond).
Digital Previsualizations and Modeling Tan Cheng Quan |
Singapore CITY SCAPES
In the following studies it is less about the differences between photography media and painting but rather both of them being equally important in process of conceptualizing and visualizing art authenticity for desired location. City-scape photography was not just used as a backdrop for sculptures rather had its profoundest effect on influencing image and material on final art ideas visualized.
The following photographs are not so much representation of things as a presentation of time in space. The spatial reality to be used as reference in creating site specific works. Some are recorded during different time of day, playing in time across the subject.
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It has often been thought that photography released painting from the burden of representation, and thereby paved the way of abstraction. Painting could develop its own abstract forms, exploiting the properties specific to the medium itself: line and plane, color and shape on the flat surface of the support. It could dissociate itself from the fictions and tricks of naturalism: shading, modeling and imitative color; the creation of illusionistic space and lighting effects; the description of objects and topographies; the delineation of face and figure; moral or dramatic narrative. It could seek pure self-definition, and in doing so create imageries that were analogues of the energies hidden behind the veil of natural appearances. These energies might be physical (manifest in light, form and movement), mental (manifest in language, signs and symbols, in geometries and diagrams), moral or spiritual (manifest in feelings and ideas). To quote Jan Tschichold, the great Dutch typographer from his 1935 classic, Asymmetric Typography: ‘The subject is not of a great importance to a good painter-it merely provides him with the opportunity to paint significant relationships of color and form… the painter is no longer only person who can represent our world ‘as we see it’. The photographer can do that better and more quickly and he can do it in color too…Hence the representation of things can often be left to the photographer. Since the invention of photography the task of painting has been to explore color and form on flat surface’. Tschischold, who attributed the new freedoms of abstraction to the redundancy of representation brought about by photography, was, in fact, quite wrong. Photography actually has its profoundest effects on painting ‘with a subject’. It is truer to say that abstraction followed from a number of developments in figurative painting that together constituted a complex (and in certain respects, unconscious) challenge to those very claims for photography that it represented the visual world as we really experience it. (Gooding, 2001, p. 32)
Concourse Esplanade Proposal
The sensuous and ephemeral monoliths of Red Elixir are creating tangible interface between interior and exterior space of busy Esplanade Concourse.
‘Elixir of Redness’,- is a part of a cycle exploring the natural phenomena, interrelationship and influence it has on our living space..
ADM Gallery Proposal
size variable, total 14 panels; size of each panel 160cm X 227cm
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Digital Previsualizations and Modeling Tan Cheng Quan
