In-Print, Evolution in Contemporary Printmaking, 2001
Published by Hull Museums and Art Gallery ISBN 0 904490 25 4
This series explores the relationship between on-screen images, created using software which mimics traditional processes of mark making and sculpture, and the resulting shaped, painted and printed objects and images. When I first gained access to 3D software I was immediately struck by its potential to design and produce illusory images and forms; and was also keenly aware of this technology’s place within of a wide range of historical optical and visualising devices employed by artists.
Initially I used the software to re-work a Uccello drawing of a mazzochio form - this complex object seemed an appropriate test for the 3D programme, given that this form was once used as a rest of perspective drawing skill.
The mazzocchio, a wooden or wicker headdress, was a common article of male attire in Florence in the second and third quarters of the fifteenth century. Painted representations of the mazzocchio are seen in many of Uccello's paintings. By virtue of its form, which can be clearly determined in these paintings, its representation presented a constructional challenge of particular spacial complexity.