Printed Forms - Invalid Geometry
- Submitting institution
-
Middlesex University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 1609
- Type
- L - Artefact
- Location
- Bangor, Northern Ireland, UK
- Open access status
- -
- Month of production
- July
- Year of production
- 2014
- URL
-
http://eprints.mdx.ac.uk/31559/
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This output consists of a body of works pursuing artistic research in 3D drawing, using engineering software and a ABS HP 3D printer. These works expand 25 years of non-conventional printmaking; consciously utilising means which depart from 2D traditional print. Previous prints, made in editions (compare with Mumberson, 1995; 1996; 2000; 2007), combined photographic montage and collage with scanned computer prints produced using computer drawing packages. Another dimension of earlier work was creating original monoprints into 3D forms by combining multiple layers. This new work expands these montage 3D techniques to produce complex, single-form works, exploring abstract forms, developed by drawing directly into standard software and 3D printing them using laser cut and moulded elements.
The research pushes the most basic computer-aided design techniques to the service of expressive creative action, presenting the processes, application and decisions of the artist. The irony of an infinitely reproducible industrialised/desktop process for singular works, combined with the subversion of printmaking editions where a signature and serial number is the guarantee of the value and authenticity, is intentionally pursued. The other dimension to the work is its exploration of abstraction; it mimics the history of early modernism and its fascination with semi-industrial and, at the time, crafted processes for cogs, wheels, machine components. These are now designed on a computer and 3D printed in a post-industrial world. This process makes it possible to produce interactions between interlocking component parts that could never be crafted, handmade, or machine-tooled.
An article summarising the results and expanding on its possibilities was written for Printmaking Today (Vol. 27 Issue 107, Autumn, 2018). These works were included in: Combinations (Bangor, 2014); National Original Print Exhibition (Bankside Gallery, London, 19-30 September 2018) and Aggregation III-2020 (Wharepuke Art Centre, Kerikeri, New Zealand, 22 Oct - 23 Dec 2020).
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -