Much Ado About Adam

Maybe it’s my post-modern sensibility, but I think it would have been far more interesting for the Met to have simply displayed Tullio Lombardo’s broken statue in its fractured state…

The elaborate restoration process seems entirely pointless. Why shouldn’t the damaged form of the iconic High Renaissance statue speak to us directly in its present, shattered context? As a work of art, to me, that would be far more relevantly poignant and significant.

Vancouver City

An artistic collaboration between Innerlife Project and TimeLapseHD featuring vocals by Linda Ganzini. Doesn’t look remotely like the areas of Vancouver I’ve lived in, but it’s certainly nice to imagine the city this way.

More information and music downloads at Innerlife Project.

“Guernica” in 3D

I don’t know exactly how the artist managed to achieve this effect but the result is simply amazing. Excuse the pun, but it gives a brilliant new dimension to Picasso’s famous mural.

How might other paintings be similarly rendered, I wonder…

Animating Photo-Realism

Paul Debevec, a researcher in computer graphics at the USC’s Institute for Creative Technologies, explains the process behind constructing and animating a photo-realistic digital face. The possible uses of this technology are… well, interesting, to say the least.

Where’s Philip K. Dick when you need him?

Payne’s Grey

Payne Grey

I’ve been thinking about this peculiar fellow today for some reason; perhaps because of the weather. The eponymous colour was always a favourite of mine back in the day when I was painting but I’d never bothered to find out more about the artist who “invented” the particular shade of grey that now bears his name. (Also, I didn’t have Google back then…)

Turns out that while William Payne was a highly prolific watercolourist, very little is actually known about his personal life. He first started exhibiting at the Society of Artists of Great Britain in 1776 from an address in Park Street, Grosvener Square, but for the next 15 years sent most of his pictures to the Royal Academy from an obscure dockyard in Plymouth. Later he returned to London, where he became the most fashionable drawing master of the day, last exhibiting in 1830, the year of his death.