Series

This proposed project involves displaying a robotic arm in the centre of a white room with a viewing platform.

Viewers will observe painting by the robotic arm which is either receiving data from the artist using an iPad to paint in real time, or reproducing an iPad painting from file. It will emulate the mark making, palette selection and movements of the artist.

With the likes of PaceX and Tate there has been a growing focus within the art world towards uniting art and technology. These spaces provide an immersive experience to a viewing audience who are eager to encounter, photograph and post their findings.

Like art itself, the artist’s studio is always a reflection of the spirit of the times. The existence of this robotic arm and its application as a creative tool would signal an evolution of the artist’s studio whilst simultaneously putting into question the mythology of the artist’s hand and displaying the best technologies in Artificial Creativity.

Art enthusiasts have a fascination with the mythology of the artist’s studio. Our contemporary model holds much of its influence from its beginning stages in Renaissance Europe where the artist’s work was carried out in the bottega—the workroom—as opposed to the studiolo, a separate space for study, contemplation. To this day the inner workings of artists’ studios are veiled in secrecy, this project seeks to share the experience of art making through the digital arm.

The use of the iPad for painting and apps such as Procreate are as revolutionary for artists as working en plein air (in open air) was to the Impressionists. Digital painting allows the artist to assume a global nomadic existence whilst its apprentice, the digital arm, in real time records every movement and brushstroke to those who will watch in real time what is largely a private experience restricted to the confines of the artist’s studio.

Artists since the Old Masters have utilised technology available to them in rendering their subjects. David Hockney made great strides in 2006 to prove how artists such as da Vinci, Caravaggio, Velázquez, and Van Eyck used mirrors and various optical devices – such as the camera obscura – to project images onto their canvasses.