A paper about the eye-tracking drawing project Id-Dgħajjes tal-Fidili, published by the drawing journal Drawing: Research, Theory, Practice is now available at the following:
Attard, Matthew (2022), ‘Eye (re)drawing historical ship graffiti: Tracing ex-voto drawings with eye-tracking technology’, Drawing: Research, Theory, Practice, 7:2, pp. 185–98, https://doi.org/10.1386/drtp_00088_1
Ħars fuq ħars is a six-artist visual experiment taking place within the project space at Valletta Contemporary, in parallel with the solo exhibition rajt ma rajtx… naf li rajt and curated by Margerita Pulè. The contributing artists are: Gilbert Calleja, Charlie Cauchi, Ryan Falzon, Charlene Galea, Roxman Gatt, Alexandra Pace.
The video below features some installation views from the project.
Most of the past six months have been dedicated to the production of the solo show rajt ma rajtx… naf li rajt, curated by Elyse Tonna at Valletta Contemporary, which also features supporting works by invited artists reinforcing multiple points of view. These include: Caesar Attard, Nanni Balestrini, Aaron Bezzina, Matyou Galea, Francesco Jodice and Pierre Portelli. The video below is a walk-through of the exhibition.
The experiments below consisted in eye drawing an aloe plant from a distance of about 45 cm by contouring/delineating the boundaries of the 3-dimensionality of my hand, using the Pupil Core binocular eye tracker and the Fingertip calibration method.
Figure 45: Eye-drawing of an aloe plant and pot
Figure 46: Eye-drawing of an aloe plant and pot
The experiment below consisted in eye drawing my right hand at a distance of about 45 cm and its reflection in the mirror by contouring/delineating the boundaries of the 3-dimensionality of my hand, using the Pupil Core binocular eye tracker and the Fingertip calibration method. 7517 points were recorded in 40 seconds.
Figure 44: Eye-drawing of my right hand and its reflection in a mirror
The experiment below consisted in eye drawing my right hand from different viewpoints by contouring/delineating the boundaries of the 3-dimensionality of my hand, using the Pupil Core binocular eye tracker as a result of the Screen Marker calibration. 9383 points were recorded in 51 seconds.
Figure 43: Eye-drawing of my right hand from different viewpoints
The experiment below consisted in eye drawing my right hand at arm’s length and from a close range by contouring/delineating the boundaries of of the 3-dimensionality of my hand, using the Pupil Core binocular eye tracker as a result of the Screen Marker calibration. 9512 points were recorded in 53 seconds.
Figure 42: Eye-drawing of my right hand at arm’s length and from a close range
The experiment below consisted in eye drawing my right hand from different viewpoints by contouring/delineating the boundaries of the 3-dimensionality of my hand, using the Pupil Core binocular eye tracker as a result of the Fingertip calibration. 9359 points were recorded in 51 seconds.
Figure 40: Eye-drawing of my right hand from different viewpoints
Figure 41: Developing the eye-drawing in Figure 40 into a cluster of spheres
The experiment below consisted in eye drawing the hand at my arm’s length and from close range, using the Pupil Core binocular eye tracker as a result of the Fingertip calibration. 8000 points were recorded in 44 seconds.
Figure 38: Eye-drawing of my right hand at my arm’s length and from close range
Figure 39: Sculptural development of Figure 38
Figure 36: Generative development from a series of eye-drawings to a digital sculpture
Figure 37: A generated digital sculpture
Through 3-dimensional algorithms such as Lofting, I am developing the eye-drawing geometry into sculptural forms. Perhaps, further practice will teach me how to anticipate and control the formal values within these digital sculptures, along with other questions which had been brought up in earlier posts.
An important concept I will mention here, is how the material itself (a digital skin generated along the eye-drawings) influences the development of the form and therefore the mind (and our perception of it). I feel that within developments such as Figures 36 and 37, the crucial material involved is the combination of the Loft algorithm and the eye-drawings themselves, while everything is being developing in the virtual world, away from the material-making of the hands. The dialogue between development and making, is therefore taking place conceptually.