New Aesthetics and Practical Venues for Rendered CGI images in Studio Art
Rendering and CGI are a common feature in today’s mass produced imagery in media and motion pictures. However, such imagery have subsumed the creative and aesthetic input given by technology to conventional narrative. This proposal is intended to redirect the possible insights provided by rendering (Mental Ray, Ray Tracing, Radiosity etc...) toward studio art practice. Artists are more interested in using digital media to set up new creative processes, but in the case of a narrative involving 3D images, they are confronted by the overwhelming set of technical resources of the industry. In a clear outlined sequence, this presentation will organize the discussion around the possible aesthetic venues that are relevant to yield from rendered 3D images, and to lay out foundations to a practical development in the artist studio. Another component included in this presentation is how to deal with the notion of images produced by large teams versus the one man outcome provided by the artist “atelier.”
||Rendering, Media, Narrative, Radiosity, Ray Tracing, Mental Ray, Studio Art, Aesthetics
The International Journal of the Image, Volume 1, Issue 1, pp.205-222.
Article: Print (Spiral Bound).
Article: Electronic (PDF File; 3.179MB).
Assistant Professor, Visual Communication Department, Indiana University-purdue University Fort Wayne, Fort Wayne, Indiana, USA
Andres Montenegro is an assistant professor of 3D computer animation, 3D modeling, and advanced rendering. His work develops immersive environments using real time 3D animations while integrating Physical computing in installations based on interactive responses and multichannel projections. He has an extensive experience with software and hardware oriented toward the generation of different styles of rendered images using painting as the main source of research.
His personal work uses metaphors and symbolic narrative to assemble a conceptual language depicting cross-cultural references. His work of art begins in the '80s regarding painting as the main vehicle of production, and experimentation being the framework for mixing language, aesthetics, and conceptual venues based on Art History as well. His digital work begins in 1990 with early experiences using 3D animation software. From 1983 – 2009 he presented one man shows and collective exhibitions in Chile, South America, Europe and the United States.
He received his BFA in Art and Education from University of Chile in 1986, his MA from University of Playa Ancha Chile in 1996, and his MFA in Digital Arts from University Of Oregon in 2006 While he was studying there he was awarded the Clarice Krieg Scholarship, and University of Oregon Scholarship in 2004, 2005, and 2006.