The printer’s nozzle size of 3mm was twice the layer height of the final print. The 3D scan was enlarged and finally 3D printed by iMakr in London using their 3MTWasp printer. This clay form, now merely a shadow of its 2D template, was then 3D scanned. He describes these as “baroque flourishes amongst the otherwise regular strata”. Ziegler then built up coils of clay according to these templates, “periodically disrupting” this process by changing his gestures all of a sudden, “in the same way that coil pots slump and fall”. “In praise of envy” (front) and “Slave” (back). The model was then evenly sliced up into 2D segments, which became cardboard templates. He initially builds up a 3D polygon virtual model and then introduces elements of distortion. Ziegler was inspired by the 3D printing process and brings this into his work. “I wanted them to look like they had come off a 3D printer, although they were made by hand,” he explained in a recent interview.
The leap from 2D to 3D came when Ziegler turned his hand to creating coiled clay models of the distorted image of the sculpture. This image was then digitally distorted and blurred to abstraction. The starting point for the exhibition’s eponymous sculpture, one of three original works, was a search engine image of Henri Matisse’s bronze sculpture “The Serf”. The London-born mixed media practitioner used a combination of image manipulation, sculpting, casting and 3D printing over three years to produce the “Slave” sculpture group. One such artist who decided to do this is Toby Ziegler. It is not often, however, that the artist intentionally interferes with the additive manufacturing process and uses the result of this in the final work. Artists are increasingly turning to 3D printing to produce their pieces.
0 kommentar(er)
