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Invisible statue art show2/29/2024 ![]() The next step is the most time-consuming portion of the process, namely turning the unappealing ‘polyline’-type part outlines into beautifully curved ‘Bezier’-type drawings. When I like the 3d shape, I virtually cut it up into 2D slices. Sometimes I make 3D-prints and combine those with other portions modelled in actual clay and then re-scan to get that object into the computer for further tweaking. In the next step I use an array of ready-made and custom written programs and algorithms to arrive at the object I envision. So, the statues are actually real people 3D scanned?Ĭurrently, much of my sculptural work is figure-based and almost all the ‘disappearing’ works start with studies using 3D-scans of a real human beings, these days either photogrammetry or structured light or a combination thereof.īut getting the data representing someone’s body into the computer is only the very beginning of a long journey of sculpting the overall shape in the computer, in a very similar fashion as you would in traditional techniques involving clay or stone. Viewed from any angle significantly different to that disappearing angle, the sculpture looks like solid metal, because the narrow gaps soon close the view through the sculpture as the viewer moves by. In addition to this small fraction of metal visible at that ‘disappearing angle’, the polished stainless steel I often use, reflects the colors of the environment making the work blend in even more. Along the direction of the slices you see only about 10% of metal, but the rest of the visible area is open, revealing what is behind the sculpture. The ‘disappearing’ works consist of parallel slices of metal with gaps in between them. I am always still flabbergasted how Realit圜apture achieves its results, making sense of so much information, and of such a ’fuzzy’ kind – I wouldn’t even know how to begin writing that type of code. I built my own 3d-scan rig consisting of 170 “Raspberry Pi” computers with 8 Megapixel cameras and use Realit圜apture to crunch the data because it seems the by far best and fastest such software. In 2012 I did my first photogrammetry life-scan, still in very low resolution with an early, now obsolete technology, and finished the first sculpture based on those data in 2016 – I loved the outcome and soon realized that the key was the high degree of global accuracy that made this technology able to capture something very subtle about the human body. 3d-scanning was still very difficult and expensive then. Those ATOS scanners were also what I used for my first 3d-scans of life humans in 2008. Then I made some sculptures by creating physical figures which were 3d-scanned with early industrial structured-light scanners and sliced virtually. In later iterations, I photographed each part and traced the outlines on the computer to create files that allowed for CNC cutting of the metal. ![]() ![]() I then traced the shape of each slice onto steel to cut it out. I made this first “Quantum Man” by carving the walking figure out of a large block of Styrofoam and then physically slicing it up with a knife. How has the technique you use for creating these statues evolved and why did you decide to use Realit圜apture? That idea, to think of myself as a quantum object led in 2006 to the idea to create a stylized walking figure titled “Quantum Man”, consisting of parallel slices with gaps in between, arranged like the wave fronts in the quantum mechanical wavefunction that would describe that motion. After this experiment was a success, I started looking into other, even larger candidates for such experiments – the crazy dream was to eventually be the quantum object yourself, getting sent as a wave and being detected again as a particle – how would that feel like? We set out to show that even fairly large pieces of matter still behave as quantum mechanical waves and we used Carbon-60 molecules, the famous ‘buckyballs’, to do that. I studied physics at different European universities for a number of years and ended up doing my graduate research with Anton Zeilinger in Vienna, in a research group specializing on fundamental questions of quantum physics with a deeper philosophical interest. The idea for my body of ‘disappearing’ sculptures was directly inspired by my work I had done as a physicist before I went into art. How did you get the idea to create disappearing sculptures? When did it all start?
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