Categories
Drawing Eye-tracker Practice-based PhD

29: Re-interpreting historical ship graffiti

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

Categories
Eye-drawing Eye-tracker

28: Ħars fuq ħars

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.

Ħars fuq ħars
curated by Margerita Pulè

Contributing artists:
Gilbert Calleja
Charlie Cauchi
Ryan Falzon
Charlene Galea
Roxman Gatt
Alexandra Pace

A six-artist visual experiment, in parallel with the solo exhibition rajt ma rajtx… naf li rajt.

25 Sept – 15 Nov 2021 at Valletta Contemporary

Matthew Attard is a current PhD candidate at the Edinburgh College of Arts, University of Edinburgh, funded by the Malta Arts Scholarship Scheme – The Ministry for Education and Employment.

The exhibition is also supported by Doneo Ltd.
Categories
Digital sculpture Drawing Eye-drawing Practice-based PhD

27: rajt ma rajtx… naf li rajt

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.

rajt ma rajtx… naf li rajt
I/you saw, but I/you did not see… I know that I/you saw

Matthew Attard

curated by Elyse Tonna

with supporting works by Caesar Attard, Nanni Balestrini, Aaron Bezzina, Matyou Galea, Francesco Jodice and Pierre Portelli.

25 Sept – 15 Nov 2021 at Valletta Contemporary

Matthew Attard is a current PhD candidate at the Edinburgh College of Arts, University of Edinburgh, funded by the Malta Arts Scholarship Scheme – The Ministry for Education and Employment.

The exhibition is also supported by Doneo Ltd.
Categories
Eye-drawing Practice-based PhD

22: Binocular Experiments

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

Categories
Eye-drawing Hand Practice-based PhD

21: Binocular Experiments

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

Categories
Eye-drawing Hand Practice-based PhD

20: Binocular Experiments

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

Categories
Drawing Eye-drawing Hand Practice-based PhD

19: Binocular Experiments

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

Categories
Digital sculpture Eye-drawing Hand Practice-based PhD

18: Binocular Experiments

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

Categories
Digital sculpture Eye-drawing Hand Practice-based PhD

17: Binocular Experiments

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

Categories
Digital sculpture Eye-drawing Practice-based PhD

16: Eye drawing and digital sculpture

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.

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