Matthew Plummer-Fernandez, Digital Natives (2012)
“The internet changed the world in the 1990s, the world is about to change again,” read much of the promotional literature for the recent 3D Printshow in London. The commercial exhibitors might have benefited from a far more modest tag line, but the art work exhibited, separate from the main trade section of the show, gave much new to think about regarding the the relationship between technology and craft.
Frederik de Wilde, M1ne IIII (2012)
I was immediately intrigued by the two sculptural objects on display by Frederik de Wilde. The cobalt chrome models had been printed from data gathered from Belgian coal mines. They presented themselves as futuristic objects with a link to Europe's industrial heritage. The representations of the coal mines came to the 3D Printshow as seemingly abstract objects but, were actually formed by a much more political process. It had been a laborious process for de Wilde to get access to the data. He remarked that being granted permission to use a data source as an artist is almost an art form in itself. The Belgian government are protective over the information as the mines contain elements of interest to multinationals and other nations. De Wilde was not permitted in the work to reveal the location of the mines and had to abstract the forms so that interested parties could not gain commercial advantage. The custodians of the data had a large say in what the outcome of the piece would be. This is an intriguing collaborative process if it can be considered as such. The models of the coal mines had been stacked inside each other to create fragile vessels, that also further abstracted the context of the data. The production values of both objects were also noteworthy. I ...