The Long View interactive has been accepted to SIGGRAPH 2013 Art Gallery in Los Angeles this summer. It is an example of the cutting edge work interactive work going on in the Art+Design Masters program. Collaborators include Patrick FitzGerald, Daniel Lunk, Jim Martin, Dwayne Martin, and Lee Cherry. The Long View is a gesture-based interactive installation that offers the viewer the ability to affect animated elements in a projected space in ways that the artists hope will increase awareness of our fragile and temporary relationship to our planet.
Our piece integrates open-source, physics-based gaming engines in Flash with our own gesture-based interactive system that uses the Microsoft Kinect as an input device. The installation allows and encourages viewers to interact with the projected elements by moving their hands and bodies in a natural way. The projected “planet” view exhibits visual and behavioral changes over time and “evolves” as human technology and industrialization advances. Viewers can play with these “ecosytems” to change them in various ways. The piece itself loops and metaphorically creates a conundrum about humanity’s long-term relationship to the earth.
It relates to the SIGGRAPH 2013 Art Gallery theme XYZN: Scale in that it covers vast epochs of time and creates different experiences depending on viewers’ proximity to the projection. Weare interested in creating interactive systems and experiences that are intuitive and require nom learned grammar. We believe that in the future, gesture-based interactive spaces and experiences will become a common way for individuals and groups to interact with media, environments, and each other.
Name that Sushi!
Row 2 column 4 “The I Mac”
Row 2 column 2 “Ice Cream Sammy”
Name that sushi.
Row 1, column 2 “The Diva”
Row 3, column 1 “The Zamboni”
Design Box Opening
Friday Apr 5- 26 2013
SUSHI. I guess have had my odd fascination with it for more than 25 years now. At 23, armed with an MFA in painting and no job, I accepted an invitation to teach English in Japan for one year. Coming from Kansas City, the experience of being airdropped into a small city in the outbacks of Japan was a culture shock I was not prepared for. In my free time, I wandered the streets and alleys of my new home Fukui, exploring the seemingly endless offerings of mom and pop food shops. On the outside of almost all restaurants sat plexiglass display cases containing convincing, plastic replicas of the meals they were serving. They consisted of artfully composed dishes of dismembered sea creatures in all manner of Japanese dishes. Over time, something about the combination of the subject matter, the presentation setting and the hot sun created an unconscious and involuntary revulsion to the plastic raw fish sitting behind these display windows. But there was no escaping it. Sushi was everywhere I turned—at the breakfast, lunch and dinner tables, and at all events great and small where one was expected to eat what was served. In the end, I found myself spending close to a year subsisting on a diet of mostly white rice and miso soup and simultaneously withering to a fraction of my (then) slight frame. I have since recovered handsomely. Thank you.
Fifteen years later, I gave sushi another shot. I tried it, I liked it. I really liked it. Maybe my distant and romantic memories of Japan (some of them augmented by now, I’m sure) propel me now to hunt for new sushi experiences wherever my wife and I go. In fact, the tradition of eating sushi is now part of our lives’ milestones. My wife and I had sushi on our first date. I proposed to her over sushi (well after, not over it). We had sushi to celebrate the news of each of beautiful daughters’ arrival.
And now I find myself drawing it. A lot. These hundreds of drawings celebrate the creative American spirit by exaggerating and parodying the variations of sushi invented here over the past 20 years. The “Volcano Roll”, the “Firecracker Roll”, the “Wolfpack Roll”, the “Mastercard Roll” and countless other versions of non-traditional sushi nonsense delight me. I hope you enjoy this exhibition of drawings as a lighthearted but sincere tribute to Japanese culture and American creativity.
The great Japanese artist Hokusai called himself “The old man crazy about drawing.”
Maybe I’m just crazy about drawing sushi. (and eating it too).
“A True Fishing Story” is a look into a struggling writers mind. What to do? What will happen next? The creative process involves generating ideas and culling ideas. the images are samples of what direction the story might finally go. BTW- Isn’t JAWS a lot like Moby Dick?
This concoction of images tells a story that only the viewer knows. The idea behind all the Storyboard Series (and maybe all of my work) is to let the viewer be a collaborator in the experience of viewing the piece. In this piece, the isolation, chance-taking and uncertainty of doing something new is the theme of the work.
This image is a digital composition that attempts to create visual tension via contrast of pattern and empty space. Though non-representational, it cannot help but reference sky and the violent movement of water.
This print is a study of pattern making using digital media to connote natural algorithms. I like the clarity of digital media but the sterility of images made via code leaves me cold. The tension in these images comes from the reference to the natural world using digital means.
In this digital print, I explored the tension of overall pattern (a tenet of some forms of Abstract Expressionism) with the illusion of 3D space. The sharp contrast of color (or lack of it) with the background pattern helps to create a feeling of floating or buoyancy, of sorts.
This image is part of a series of digital prints I composed using entirely digital assets. My process starts with type (believe it or not) and final ends up in Photoshop for final arrangement and color adjustment. All prints are then printed with archival inks on watercolor paper and mounted on panels. A layer of encaustic wax is added. Each print is unique and one of a kind.