Opening Reception Thursday August 9, 2018 - 6:00 - 8:00 pm
Show runs August 3-30, 2018
Opening Reception Thursday August 9, 2018 - 6:00 - 8:00 pm
Show runs August 3-30, 2018
DAN SCALLY - Artist Statement
Art is Experimental.
For myself, It has always been about that. The “what if” question. The constant search for the perfect mix of surface and medium. It’s about combining different media as well as found objects and substrates to create something fresh and exciting. It is about applying and removing paint, pastel, ink, pencil. I like paper because it absorbs. I like canvas for it’s mixed media possibilities. I like wood and metal for their textures, opaqueness and reflective qualities.
I see my work as an evolutionary process:
1. Idea stage and composition study
2. Application of media, surface manipulation of paper, canvas, metal or wood.
3. Reworking the image and often using digital print as part of the process.
My current work is very “stream of conscious”, reacting to the moment and environment yet always in control of composition, color, and design. I have recently begun to express my ideas in textural relief and sculptural forms.
My toolbox includes various brushes, pencils and tools that add, remove paint or make an “expressive” mark. My working method leaves the road open where one medium can be combined with another and one mark can suggest another.
I can be literal or abstract in my interpretation. My goal is always to simplify an idea, distill the visual facts and capture the emotional aspects of what I see. I believe that an artist needs to make a connection between his own imagination and that of the viewer to be truly successful.
PETER J SUCY - Artist Statement
Stereo imaging has fascinated me from an early age. In the fifties, my dad made stereo slides of us as kids. I found them, and the stereo viewer, in my teens and remember the powerful feeing of being in the room when the photo was taken. Kodak published an annual report in the early sixties with a 3D photograph on the cover, That amazing photo also had a strong impact on me and was a memory I filed away for later exploration.
In the late 1980’s, I began experimenting with 3D modeling programs on my Macintosh computer. At first creating 3D rendered objects to combine with my digitized photos, but as my modeling skills improved, I began creating entire 3D modeled scenes. Soon, I began to wonder if my 3D modeled scenes could be output as stereo images.
I tested this theory with the film recorder in my lab at Kodak. Rendering a pair of stereo images from a 3D scene and outputting two 35mm slides. The slides were mounted in a cardboard stereo mount for viewing in my dad’s vintage Kodak stereo viewer. And It worked! I had created a 3D reproduction of my artwork. However, it was not exactly the optimum medium for viewing.
I wanted people to experience my 3D spaces as if they were actually there, but not with a handheld viewer. I wanted to be able to make auto-stereographic 3D prints. No glasses or viewer needed.
Little did I know that the technology behind that 3D photo on the annual report, would reach out and find me. In the mid-nineties, a colleague who knew of my 3D art, asked if I would consult for a new division called Dynamic Imaging. This division created 3D and motion images for advertising, using lenticular printing technology. The process combines multiple images or views into one printed image, which is aligned with a special lens sheet to create 3D or motion images, sometimes combining both.
This was the medium I’d been waiting for! I decided to leave Kodak after Dynamic Imaging closed in 2001 and pursue a new career as a 3D artist. I’d learned a lot at Kodak, but still had to learn how to generate, print and laminate my own prints, It’s was a long, expensive learning curve. There were no training schools or even workshops available. The lens material is expensive and you only get one shot at laminating it correctly. Off angle by a pixel or two, and it goes in the trash. Laminating is usually the make or break step in the process, but many more things can go wrong even before that step. It’s a very technically challenging medium.
The artworks in the Virtual Visions series are based on memories, dreams, visions, or sometimes just grow organically from an interesting 3D modeled and textured, wireframe background set, that I’ve just dropped into the empty space of my virtual 3D film studio. I find an interesting camera angle, light it and it begins to speak to me as to what else it needs. I try to design the scene to draw the viewer in, and love to put little details for people to find.
Truly one of the only interactive print mediums, I think the potential for further exploration is vast. It’s a technology that has been around for more than a hundred years, but is finally becoming more accessible to artists.
Art is Experimental.
For myself, It has always been about that. The “what if” question. The constant search for the perfect mix of surface and medium. It’s about combining different media as well as found objects and substrates to create something fresh and exciting. It is about applying and removing paint, pastel, ink, pencil. I like paper because it absorbs. I like canvas for it’s mixed media possibilities. I like wood and metal for their textures, opaqueness and reflective qualities.
I see my work as an evolutionary process:
1. Idea stage and composition study
2. Application of media, surface manipulation of paper, canvas, metal or wood.
3. Reworking the image and often using digital print as part of the process.
My current work is very “stream of conscious”, reacting to the moment and environment yet always in control of composition, color, and design. I have recently begun to express my ideas in textural relief and sculptural forms.
My toolbox includes various brushes, pencils and tools that add, remove paint or make an “expressive” mark. My working method leaves the road open where one medium can be combined with another and one mark can suggest another.
I can be literal or abstract in my interpretation. My goal is always to simplify an idea, distill the visual facts and capture the emotional aspects of what I see. I believe that an artist needs to make a connection between his own imagination and that of the viewer to be truly successful.
PETER J SUCY - Artist Statement
Stereo imaging has fascinated me from an early age. In the fifties, my dad made stereo slides of us as kids. I found them, and the stereo viewer, in my teens and remember the powerful feeing of being in the room when the photo was taken. Kodak published an annual report in the early sixties with a 3D photograph on the cover, That amazing photo also had a strong impact on me and was a memory I filed away for later exploration.
In the late 1980’s, I began experimenting with 3D modeling programs on my Macintosh computer. At first creating 3D rendered objects to combine with my digitized photos, but as my modeling skills improved, I began creating entire 3D modeled scenes. Soon, I began to wonder if my 3D modeled scenes could be output as stereo images.
I tested this theory with the film recorder in my lab at Kodak. Rendering a pair of stereo images from a 3D scene and outputting two 35mm slides. The slides were mounted in a cardboard stereo mount for viewing in my dad’s vintage Kodak stereo viewer. And It worked! I had created a 3D reproduction of my artwork. However, it was not exactly the optimum medium for viewing.
I wanted people to experience my 3D spaces as if they were actually there, but not with a handheld viewer. I wanted to be able to make auto-stereographic 3D prints. No glasses or viewer needed.
Little did I know that the technology behind that 3D photo on the annual report, would reach out and find me. In the mid-nineties, a colleague who knew of my 3D art, asked if I would consult for a new division called Dynamic Imaging. This division created 3D and motion images for advertising, using lenticular printing technology. The process combines multiple images or views into one printed image, which is aligned with a special lens sheet to create 3D or motion images, sometimes combining both.
This was the medium I’d been waiting for! I decided to leave Kodak after Dynamic Imaging closed in 2001 and pursue a new career as a 3D artist. I’d learned a lot at Kodak, but still had to learn how to generate, print and laminate my own prints, It’s was a long, expensive learning curve. There were no training schools or even workshops available. The lens material is expensive and you only get one shot at laminating it correctly. Off angle by a pixel or two, and it goes in the trash. Laminating is usually the make or break step in the process, but many more things can go wrong even before that step. It’s a very technically challenging medium.
The artworks in the Virtual Visions series are based on memories, dreams, visions, or sometimes just grow organically from an interesting 3D modeled and textured, wireframe background set, that I’ve just dropped into the empty space of my virtual 3D film studio. I find an interesting camera angle, light it and it begins to speak to me as to what else it needs. I try to design the scene to draw the viewer in, and love to put little details for people to find.
Truly one of the only interactive print mediums, I think the potential for further exploration is vast. It’s a technology that has been around for more than a hundred years, but is finally becoming more accessible to artists.
For more information on Dan Scally, please visit: http://www.dscallyfineart.com
For more information on Peter J. Sucy, please visit: http://www.peterjsucy.com
The Geisel Gallery is located on the Second Floor Mezzanine Floor of Legacy Tower
One Bausch + Lomb Place, Rochester, NY 14604