Attempting to fracture digital space.
“In ‘A Capitulation to Motion’ and ‘An Oasis is a Strange Place’ I am using similar photogrammetry technology to the more realistic works in the exhibition, but am attempting to emphasize the glitches and breaks in it. This is particularly evidenced in my method of capturing images—rather than trying to create a series of clean, same orientation and steady images, I am moving the camera around a space at random, capturing certain points in an effort to recombine a familiar but broken space. - Dan Tapper
“In ‘A Capitulation to Motion’ and ‘An Oasis is a Strange Place’ I am using similar photogrammetry technology to the more realistic works in the exhibition, but am attempting to emphasize the glitches and breaks in it. This is particularly evidenced in my method of capturing images—rather than trying to create a series of clean, same orientation and steady images, I am moving the camera around a space at random, capturing certain points in an effort to recombine a familiar but broken space. - Dan Tapper
Attempting to recombine space as a digital form.
“I wanted to experiment with generating a place that is often travelled to but is not currently accessible (at least not to international tourists). I chose to recreate Machu Picchu using a number of satellite images in a process called photogrammetry. From this point I began to deconstruct and manipulate the shape via code, leading to a hybrid image of points and lines. In this piece, I'm interested in how a very recognisable place can carry collective ideas and memories. Once the space is manipulated and distorted does it still carry the same recognisability or connotations? For some reason this piece also makes me think about the future—how will travel change after the pandemic? Will globally famous sites still be accessible or will access be increasingly limited with the major points of access being through media?” - Dan Tapper
“I wanted to experiment with generating a place that is often travelled to but is not currently accessible (at least not to international tourists). I chose to recreate Machu Picchu using a number of satellite images in a process called photogrammetry. From this point I began to deconstruct and manipulate the shape via code, leading to a hybrid image of points and lines. In this piece, I'm interested in how a very recognisable place can carry collective ideas and memories. Once the space is manipulated and distorted does it still carry the same recognisability or connotations? For some reason this piece also makes me think about the future—how will travel change after the pandemic? Will globally famous sites still be accessible or will access be increasingly limited with the major points of access being through media?” - Dan Tapper
“I wanted to see how the technology I am using to capture and convert objects into 3D would convert my form with an interest in incorporating my own image either subtly or overtly in ongoing works.” - Dan Tapper
Computationally-generated chimeras.
““Chimeras” are created through a process which involves grabbing elements from many 3D models and meshing them together. This process leaves something abstract but weirdly organic in feel.” - Dan Tapper
““Chimeras” are created through a process which involves grabbing elements from many 3D models and meshing them together. This process leaves something abstract but weirdly organic in feel.” - Dan Tapper