Appended - After Francis Bacon 1, 2, and 3 (2008)

Throughout the history of modern arts and especially since the advent of postmodernism in the mid twentieth century, numerous artists have attempted to put into practice perceptions of transitions, and to represent the "in-betweens." Many have worked in the junction between figuration and abstraction, among whom Francis Bacon, who has specifically investigated the notion of deforming the human forms. My body of works is inspired by his paintings, and consists of three separate but conceptually correlated virtual environments. They allow interactive manipulation of human body shapes, in order to visualize the alterations assigned to them in real-time and under unlimited number of angles. Starting with fairly figurative 3D forms, human bodies or body parts are gradually distorted and converted into abstract shapes. This gradual modification process creates an emblematic middle space of uncertainty, in which the viewer tackles with what could be considered the "semi-abstract" phase of the work. An ...

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Throughout the history of modern arts and especially since the advent of postmodernism in the mid twentieth century, numerous artists have attempted to put into practice perceptions of transitions, and to represent the "in-betweens." Many have worked in the junction between figuration and abstraction, among whom Francis Bacon, who has specifically investigated the notion of deforming the human forms. My body of works is inspired by his paintings, and consists of three separate but conceptually correlated virtual environments. They allow interactive manipulation of human body shapes, in order to visualize the alterations assigned to them in real-time and under unlimited number of angles. Starting with fairly figurative 3D forms, human bodies or body parts are gradually distorted and converted into abstract shapes. This gradual modification process creates an emblematic middle space of uncertainty, in which the viewer tackles with what could be considered the "semi-abstract" phase of the work. An environment in which profiles are neither identifiable as human figures nor are they fully unrecognizable yet.

I imagined what Bacon could have done to his many portraits and human bodies would he have had access to the new interactive technologies. I started with his level of distortion and added to it by overstressing the twisting, wrapping, bending, bulging, and folding of the shapes, letting them intersect, and allowing viewers to move to any point in space, creating the visual compositions of their choice. The shift from macrocosm to microcosm while traversing all in-between stages in the process, as well as the possibility of moving, crossing, and altering the shapes, highlight the concept brought up by Deleuze and Guattari stating that elements do not preexist on their own but rather coexist in their reciprocal relationships.

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