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Full paper / Spatial Photograms: Experimental Cyanotype Photography using 3D Scanning and Printing Technologies
- Abstract: This paper discusses contemporary forms of photographic representation of space and, at the same time, new possibilities of making an objective spatial. Structured in two parts, it articulates an alternative model of photographic space in the form of a Spatial Photogram. We propose a novel photographic practice, based on traditional pre-photographic image-making and today’s digital image methods.
In the first part, we analyze the cultural-artistic context of the historic developments in photography to articulate an objective image of space through comparing the movements of Functional Aesthetics and Neue Sachlichkeit (new objectivism) with the pre-photographic practices of camera-less photography – the photogram.
In the second part, we discuss the technical setup in the making of a Spatial Photogram focusing on comparing 3D printing and scanning methods, as well as the making of transfer tools between the digital methods and the chemical-based analogue cyanotype printing.
The result is a material-based image that introduces space as a density – a completely new method to articulate a representation of space in the context of photographic objectivism.
- Biography: FONG Hin Nam is a Hong Kong-based media artist interested in exploring different forms of space with photography and other emerging imaging technologies. Obtaining a Master of Fine Arts degree from the School of Creative Media, City University of Hong Kong, Fong exhibits his works of art in various local and international exhibitions including the Chiang Mai Photo Festival 2020 and WMA Open Photo Contest Exhibition – Opportunity!
Tobias Klein (簡鳴謙, is a German Artist, Architect and Associate Professor at the School of Creative Media, City University of Hong Kong. His works and writings articulates a syncretism of contemporary CAD/CAM technologies with site and culturally specific design narratives, intuitive non-linear design processes, and historical cultural references, establishing the notion of Digital Craftsmanship as an operational synthesis between digital and physical materials and tools as poetic (Poïesis) and technical (Technê) expressions. In 2020, The University Museum and Art Gallery, Hong Kong, opened a retrospective exhibition of his works, accompanied by a publication with the same title, Metamorphosis or Confrontation.
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