Working from a whole body scanner to record figures into a computer as 3d objects, we realized that by modifying our software to include time and motion, we could make moving imagery and animations. This led us to another body of work developing typographies from the topographic information contained within a scanned figure. We divided the body into a number of slices so that each layer could be viewed as a distinctly individual character. By varying the depth of the topographic layers, a complex, painterly calligraphy could be developed that looks much like brushstrokes with lines of varying weight and intensity. The animations became completely abstracted and unrecognizable, deconstructing the body and remapping it, allowing the viewer to experience a fragmented figure and, out of the chaotic abstraction of its lines, recover the body.
storyboard for essay of a thousand layers, 2005, pigment print, 45 images, 102” x 30” overall
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