With a collection of printed parts that looks like a large-scale petri dish, Hope begins gluing pieces to the ersatz canvases. Some of his creations have the depth of relief sculptures while others look like plasticy impasto paintings. Paint brushes will even be used when he thinks the printed elements need to be unified. “I’ve always thought paint ought to behave like scar tissue; heuristic evidence of paying dues, earning injuries, and also healing,” he says. “So for me, this is as much about handicrafts as it is the hyperextended hand of the artist.” This exhaustive process can stretch from a week to a month depending on size and complexity and he typically has multiple projects running at once in different stages of completion.
[U]sing two cameras and fringe projection, which allow for unrivaled detail and speed, the process captures 40 million 3D, full color points per shot. the renderings present, in microscopic detail, the topography of the painting, exposing heaps of paint accumulated on canvases and brushstroke length and type used by the artist. zoomed-in views observed through the computer look like photographs of the surface of mars, with mountains of chroma and dense patches of texture. the images unveil stylistic approaches of master artists like van gogh and rembrandt, known for their distinct application of medium and surface. …
the innovation could allow for incredible advancements in fine art restoration and conservation and could create a market for highly-accurate, low cost prints, but the technology also raises numerous questions about the increasing accessibility to replication and forgery. the idea of value will be questioned, as it becomes more and more conceivable that clones of celebrated works can be printed out, even on a mass scale.
(Image: Shane Hope’s Protocol-onization of Commons-Clusters. More images here.)