INA CONRADI

A NEW MEDIA ARTIST

VIEW MY WORK
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About

Ina is an award-winning digital new media artist living and working in Singapore. Her works innovatively span several disciplines: digital painting, experimental stereoscopic animation, installation, architecture and new media.

Ina’s research interests are in new media art investigations through art form that redefines the wide spectrum of what painting can be. Her explorations define the new pictorial experiences that translate traditional physical act of painting into variable media spaces, innovatively employing digital animation, VFX, and since 2010 stereography.

The new ‘paintings’ are often “unframed” and experienced as infinitely expanding within the virtual immersive platforms such as the panoramic 320 curved multi-channel projection space at the NTU’s Institute for Media Innovation, or are “re-framed” back into theatre screen, to be again infinitely lopped into staged cine-installation for physical architectural gallery space.

She recently completed two animated films:
Le Phénomène Atmosphérique and Elysian Fields.

The 2013 film ‘Elysian Fields’ was screened for the 86th Academy Awards Qualifying Screening Entry.  She has exhibited and screened her works internationally. Among others the list includes prestigious Ars Electronica Festival Deep Space Austria, 3D Festival Beyond, The Center for Art and Media (ZKM) Karlsruhe Germany, the 14th International Beverly Hills Film Festival Hollywood,  SPARK [FWD] 3D, VFX & Advanced Imaging Conference Vancouver by prestigious Emily Carr/S3D Centre and the Canadian 3D and Advance Imaging Society , 67th Edinburgh International Film Festival United Kingdom,  Brooklyn Film Festival New York, Anima Mundi Festival Brazil, 3D stereo Dimension 3 Festival Paris, Attakkalari India Biennial Bangalore India. Her works have been exhibited at the SIGGRAPH Asia 2013 Hong Kong Art Gallery and  projected on a large scale at the 27th Southeast Asian Games (SEAG), closing ceremony segment, Naypyidaw, Myanmar.

Ina holds BFA in Textiles Design from the University of Applied Art Belgrade and MFA in Arts from the University of California LA. She has been teaching at the California State University Long Beach and LASALLE College of the Arts, Singapore. Since 2007 she has been Asst. Prof. at Nanyang Technological University, School of Art, Design and Media. Ina was a member of Singapore China Association for Advancement of Science and Technology 2010-11, (SCAAST), currently member of the Union of Slovene Fine Arts Association, (ZDSLU), and has been Japan Foundation Fellow since 1991.

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Creative Works

Unframed

  • Date: 15.8.2011-31/12/2013.
  • Funding Body: Institute for Media Innovation Seed Grant (M4080760.B40)
  • PI: Ina Conradi
  • Co-PI: Mark Chavez
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The project goal is to combine painting with animation’s unique ability to transform environment into art installation, and use IMI extraordinary creative platform as a space to author new media experimentation. Art created investigates the kinds of feelings digital media are capable of generating or enabling us to experience.

Parallel to pre-production and post-production of three stereoscopic animated films for HD Digital Cinema projection concurrently funded by AcRF Tier 1, IMI project’s focus was on how to master creative conceptual(animation narrative) and technical challenges for stereo content for technical specifications for high-resolution and one-of-a-kind visualization environments, such as the curved immersive 320° screen in the Immersive Room at the Institute for Media Innovation, at the NTU and Ars Electronica Deep Space display.

 

 

About the Institute for Media Innovation

IMI strives to be an incubator of multidisciplinary cutting edge media related research ideas and establish Singapore as a key player at the forefront of the global interactive digital media revolution. One of the goals of IMI is to forge strong interdisciplinary partnerships amongst other global players thereby bridging the academia and industry through technology transfers and spin-offs.

About IMI Immersive Room

The immersive room allows the viewers to be completely immersed in the virtual world. It makes use of latest hardware and software including infrared emitters, high end projectors, stereoscopic active lightweight glasses, position trackers, and graphics workstations linked together in a local area network. Electromagnetic 6DOF tracking is implemented to monitor the viewers’ position and orientation. The stereoscopic visualization is supported by an integrated audio sound system. Peripheral devices such as force feedback devices, and gesture gloves can also be integrated into the system. The room is a curved 320 degree screen that is lit by 5 projectors, each with a resolution of 1920 x 1200. The projectors are each connected to one of 5 computers. Each projection overlaps the other to produce a seamless singular image that spans the entire curved screen.

International Collaborations established during the project

 The research ensured support of local and networking and collaborations with regional and international institutions such as:

  • ZKM, Center for Art and Media Karlsruhe, Germany,
  • 3D Innovation Center Berlin
  • University of Arts and Industrial Design Linz, Austria Europe
  • The University of Western Australia Perth
  • Ars Electronica Centre Deep Space Linz, Austria Europe
  • Emily Carr/S3D Centre Vancouver, Canada
  • City University Hong Kong and ALiVE (Applied Laboratory of Interactive Visualization and Embodiment), Hong Kong
  • Macao Science Center, Macao

Alioscopy Glass Free 3D display, Paris France/Singapore

The Japan Foundation Research Fellowship Grant

  • Event Title: Tapestry Ina Conradi-Solo Exhibition
  • Date: 1-8. August 1992
  • Curator : Keiko Kawashima, Director Gallery Gallery
  • Venue: International Contemporary Textile Art Centre, GGEX, Kyoto, Kotobuki Bldg, Kyoto, Japan.
  • Support : Japan Foundation Grant
  • Size: 200sgm/2 gallery rooms
  • Size of weaving : 2 pieces each height 3m x width 8m X depth variable
  • Japan Foundation Grant Duration: 1991-1993
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The following works are early works done from 1991-1992* as part of research in traditional and contemporary Japanese Textile art and part of Japan Foundation Research Fellowship Grant spent at Kyoto Seika University and Tokyo National University of Fine Arts and Music.

One of a kind soft and pliable tapestry sculptures were woven in period of few months and were always accompanied by paintings. The works are hand woven, hand died in a small room in Japan, Kyoto.The warp was wire allowing the flat woven surface to take custom and variable shape that would be dependant and responsive to given architecture.The motif was inspired after kimono a Japanese traditional garment. The waving was done 5-8 hours a day, seven days a week. The rest of the time was devoted to studying Japanese Language.
Paintings were layered and built from multiple collaged canvases, to compensate for minimal and simple woven shapes and elegant motifs of vertical and horizontal woven structures.

* extended to 1993 due to war in yugoslavia

 

Exhibitions

13.03-13.04.1995 Japanese Myths Smelt Gallery,[“Japonski Miti” Galerija Smelt] Ljubljana, Slovenia, Europe (solo)

02-28.02.1995 Japanese Myths Art Gallery Maribor – Exhibition Hall Rotovz [“Japonski Miti” Razstavni Salon Rotovz Maribor]Slovenia, Europe  (solo)

16.02-12.03.1994  Painting and Tapestry Kompas Gallery [“Japonske Ljubezni, Slike in Tapiserije” Galerija Kompas], Ljubljana, Slovenia, Europe  (solo)

21.11.2004 12th Annual Discovery Tour Celebrating a Dozen Years of Art, The Arroyo Arts Collective, Los Angeles, USA Co-sponsored by the Historical Society of Southern California (group exhibit)
10.10-23.10.1992 International Textile Art Suminoe Interior Plaza, Osaka, Japan (group exhibit)

 

 

Elysian Fields, 3D Steroscopic Animation

  • Director/Producer: Ina Conradi Chavez
  • Associate Producer: Mark Chavez
  • Assistant Directors: Joshua Tan, Davier Yoon
  • Animation & Stereography: Joshua Tan, Davier Yoon
  • Animation Assistance: Ivan Yew
  • Special Thanks: NANYANG TECHNOLOGICAL UNIVERSITY ADM Stereoscopic Lab Chair (ADM)Vibeke Sorensen (Prof) Research Associate (ADM) Thummanapalli Nagaraju, INSTITUTE FOR MEDIA INNOVATION Director (IMI) NADIA THALMANN (Prof) IMI Immersive Room Technical Executive Koh Hian Hwa, ADM IT Services Senior Assistant Manager (ADM) Teo Cheng Lim, Production Supervisor (ADM) Yeong Chen Hui, ADM Motion Capture Studio Senior Assistant Manager (ADM) Teo Cheng Lim, Marc Porterfield
  • Duration : 11min
  • Medium: Digital animation - Stereo /25 fps
  • Genre: War, Fantasy, CGI, SCI-FI Stereoscopic 3D Animation
  • Project: 1.03.2011-28.02.2014 MOE AcRF Tier 1 RG 55/10 (M52090031)
  • Project: 15.08.2011-31.12.2013 IMI Seed Grant, (M4080760.B40)

Inspired by the sacrifices made by generations preceding us and expanding upon an exploration of World War II, Elysian Fields fuses fantastical and historical into a surreal reconfiguration of the present.The experimental stereoscopic 3D animated short film  Winner of a number of accolades including multiple “Best Animated 3D Short Film” awards the film was shortlisted with other 56 films for Animated Short Film Screening for The Oscar 86th Academy Awards. The film was adapted forthe famous Deep Space Ars Electronica Festival in Linz Austria, as well as at the Beyond Festival at the Zentrum für Kunst und Medientechnologie Karlsruhe, (ZKM) Germany and was in official selection of the 67th Edinburgh International Film Festival, Arizona International Film Festival, New Media Film festival, 9th Annual HollyShorts, Anima Mundi and most recently Washington DC Independent Film Festival SPARK [FWD] 3D, VFX & Advanced Imaging Conference and Festival in Vancouver Canada. Elysian Fields film has been published by the best selling German 3D Content Hub a world-leading content distributor specialized in stereoscopic 3D titles in September 2014.

 

Film web site: http://www.elysianfieldsfilm.com/

Facebook: https://www.facebook.com/ElysianFieldsFilm

Awards

27/04/2013 Audience Choice Awards: Animation, Beverly Hills Film Festival, USA

05/10/2013 Best Short 3D Festival Beyond, the Zentrum für Kunst und Medientechnologie Karlsruhe, Germany
23/09/2013 Best Animated 3D Short Film 3D Film Festival 2013/6th Annual
23/09/2013 Best Animated Short, Phenom Film Festival, USA
15/09/2013 Best Animated Film, The Oregon Independent Film Festival
15/09/2013 Best Experimental/Art Film, The Oregon Independent Film Festival
03/09/2013 Best International Shorts, 2013 CGIF Awards
22/08/2013 3D Short Runner Up, The 9th Annual HollyShorts Film Festival
13/07/2013 Best Animation, Intendence Film Festival
12/06/2013 3D Innovation Award, The 4th Annual New Media Film Festival
05/05/2013 Award of Excellence Animation, Los Angeles Movie Awards
15/04/2013 Award of Merit: Animation, Best Shorts Competition
27/04/2013 Winner 1st Place Animation 2013, 5th Los Angeles Art-House Film Festival
05/04/2013 2013 Rising Star Award Winner, Canada International Film Festival

Screenings

9-11.12.2014 3D Stereo Media, 6th The International 3D Summit for Science, Technology, Art, and Business, The International 3D festival (I3DF), Liège, Belgium
7-8. 11.2014 The 16th edition of the 24FPS International Short Film Festival, The Landmark Paramount Theatre, Abilene, Texas
2014 permanent screening The Mubi Film Forum MUBI is a curated online cinema a global subscription VoD platform to watch films available in over 200 countries around the globe and on multiple devices
5.11.2014 permanent screening on ShortsHD online broadcasting/Electronic Program Guide (EPG) on www.shorts.tv
19-25.10.2014 Xi’an Silk Road International Film Festival
9.-12. October 2014 3D-Symposium Beyond Festival Screening Karlsruhe Center for Art and Media Karlsruhe (ZKM) Germany
9-14. 07.2014 “Best of the Fest” screening National Stereoscopic Association 3D-CON, in Murfreesboro, Tennessee, USA (Invited)
01.05.2014. Spring Showcase Selection, May 1, 2014 The Best in Film and Video, American Online film Awards, hosted New York, USA (Invited)
*23.-27.04.2014 Beverly Hills Film Festival, The Chinese Theatre, Hollywood, US
*19-23.02.2014 Washington DC Independent Film Festival DCIFF, USA
*5-9.02.2014 SPARK [FWD] 3D, VFX & Advanced Imaging Conference and Festival. Festival’s 3D Stereo Short Programme “FILM -Depth Perception: Short Stories in 3D”, Vancouver International Film Centre, Vancouver, British Columbia (BC) Canada. (Invited)
*22.12.2013 The 27th Southeast Asian Games (SEAG) Closing ceremony, Singapore Segment, Naypyidaw, Myanmar. (Invited)
1.-31.12.2013 Creative Arts Film Festival 2013 Edition (CAFF), USA an Annual International Online Short Film festival.
13-15.12.2013″Little Shop of Social Horrors” Shortz Video/Film Festival 2013, The Multimedia Center Academy of Arts Novi Sad, Serbia, Europe
1.12.2013 Best of The Fest The Intendence Film Festival, Casselman’s Venue, Denver Colorado, USA
*13-15.12.2013 10th Annual LA 3-D Movie Festival, Films Featuring Stereography by Women, Los Angeles 3-D Club (SCSC), Downtown Independent Theatre Los Angeles. (Invited)
*19.10.2013 Animated Short Film Reviewing Committee Private Screening for The Oscar 86th Academy Awards, TCL Chinese Theatre Hollywood, (Grauman’s Chinese) Hollywood, USA
*3-6.10.2013 3D Festival Beyond, Center for Art and Media Karlsruhe,(ZKM) Germany Award: Best Short 3D Festival Beyond
*24, 25, & 26 09.2013 “ShortHD at the Movies” Shorts HD’s Academy qualifying release, Mann’s Chinese Theatres, Hollywood, USA(Invited)
20-22 2013 Big Bear Lake International Film Festival, Big Bear Lake, California USA
*19-21.09.2013 3D Film Festival 2013, 6th Annual, Regal Cinemas LA LIVE, Los Angeles, USA (Invited)
19-22.09.2013 2nd International Film Festival Phenom, Shreveport, Bossier City Louisiana, USA
*18-23.09.2013 The Oregon Independent Film Festival, Portland & Eugene, Oregon, USA
*5-9.09.2013 Ars Electronica Festival 2013 “Total Recall, Evolution of Memory”, Deep Space Live, Linz, Austria, Europe
21-25.08.2013 International Film Awards Berlin, (ifab) Sputnik Movie Theatre Berlin, Germany, Europe
*15-25.08.2013 9th Annual HollyShorts Film Festival, TCL Chinese Theatres Hollywood, Los Angeles USA Award: 3D Short Runner Up
*14-18.08.2013 2013 CGIFF/Columbia Gorge International Film Festival Washougal, Washington, USA. Award: Best International Shorts
*2-11.08.2013 The 21st International ANIMA MUNDI 2013
2-11.08.2013 Rio de Janeiro and from 14-18.08.2013 Sao Paulo, Brazil
*12-21.07.2013 The 16th Annual Maine International Film Festival 2013 (MIFF) Waterville, Maine, New England, USA
26-30.06.2013 Intendence Film Festival, Colorado, USA. Award: Best Animation
*19-30.06.2013 67th Edinburgh International Film, Scotland UK;Europe
*11-12.06.2013 The 4th Annual New Media Film Festival Venue: The Landmark Theatres, Los Angeles, California, USA Award 3D innovation
27.04.2013 5th season 2013, The Los Angeles Art House Film Festival, Venue The Actors Company, West Hollywood, Los Angels USA, Award: 1st Place Animation
*12-28.04.2013 22nd Arizona International Film Festival (AzFilmFest), Tucson, USA
04.2013 Best Shorts Competition, La Jolla, California, USA Award: Award of Merit: Animation
*5-6.04.2013 Canada International Film Festival, Vancouver, British Columbia, Canada. Award: The 2013 Rising Star Award/Animation
*24. 01.2013 ANIMATION CROSSING @ Filmgarde Cineplex – BUGIS+, Singapore (Private Stereo Screening)

Publishing

1. 26.09.2014. Best of 3D – The Original-Vol .10-12 [3D Blu-ray], Publisher: 3D Content Hub. Elysian Fields film published by the best selling German 3D Content Hub a world-leading content distributor specialized in stereoscopic 3D titles.

2. 12.08.2013 3D Vision Live NVIDIA online platform for viewing 3D stereo, “Elysian Fields – How it was Made”, Ina Conradi Chavez

 

Early Works: Haute-Lisse

  • Date: 1985-1987
  • Media : Large scale handwoven Haute-Lisse Tapestry
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Work commissioned:

Hotel Bovec, Slovenia 1985

Work exhibited:

1986 Ine Conradi i Moma Vukovica: Priroda Covek Sredina, Ljubljanska Banka, Beograd, Serbia, Yugoslavia ( two person exhibition)
1986 Yugoslav Art in Jordan, Amman Jordan
1986 Textile Art, Equrna Gallery, Ljubljana Slovenia, Europe (Solo Show)
1988 Eine Ausstellung in der Galerie der Bayerischen Landesbank, [“Slovenian Contemporary Art”, Munchen], Munich, Germany ( African Angels H2.80x W3.00m)

1985 Izlozba Studentskih Radova Fakulteta Primenjenih Umetnosti, Studentski Grad Beograd
1985 Izlozba textila Studentskih Radova Fakulteta Primenjenih Umetnosti, Galerija Novi Sad

 

Awards:

1985  City of Belgrade October Award

Early Works: Mixed Media

  • Date: 1987-1988
  • Location: Los Angeles UCLA studios
  • Media: Mixed Medium, 3D soft pliable sclupture and haute lisse
  • Size : Large scale Large scale
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Exhibitions:

1987 ART/LA87-The First International Contemporary Art Fair in Los Angeles Equrna Gallery Yugoslavia, Convention Centre, Los Angeles

1987 Artist form Yugoslavia, Design Centre, Los Angeles

Commission:

Reno, Nevada

Wight Art Gallery, University of Los Angeles

  • Event Title: “Ma&Mfa’s Thesis Exhibition 1989”
  • Venue: UCLA Wight Art Gallery, University of Los Angeles, CA USA,
  • Date: 13 Jun - 2 Jul 1989
  • Medium: Installation 300sq. meters: Haute lisse [tapestry] Hand woven and hand dye sisal thread Wax and pape
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About:

The installation is attempt to recreate architecture of monasteries, with walls and gates are morphing into frescos inspired iconography.Done over a year of intense weaving as the final creative outcome of Master of Fine Art Programme these large scale woven structures were suspended in space creating immersive tactile experience.Over meters and meters of fabric were all hand woven and folded and formed into variable shapes on the UCLA ground in a spacious studio allocated for Mater Thesis students.
Rather than to discard the large cartoons tapestries were based on I have decided to pour wax over them and make them as shadow structure to follow woven pieces.

Exhibitions:

21.12-3.12.1989 Open Studio Municipal Gallery Ljubljana [“ Odprti Atelje” Mestna Galerija Ljubljana], Ljubljana, Slovenia, Europe (solo)

01.03.-01.04.1991  Art of Tapestry Kompas Gallery [“Umetnost Tapiserije” Galerija Kompas], Novo Mesto, Slovenia, Ljubljana, Europe

27.12-28.12.1990 Overtures The IMC Gallery, Irvine, CA, USA (group)

 

Donations:

Dom starejših občanov Ljubljana-Bežigrad 1999
World Trade Centre Ljubljana Slovenia 1989
The IMC Gallery, Irvine, CA, US 1989
Honda- Tokyo, Japan 1990

Zavarovalnica Triglav, Murska Sobota 1991

  • Work Title: Zavarovalnica Triglav, Murska Sobota, Slovenia, Europe, 1991
  • Meidum: Tapestry, haute-lisse hand woven, hand dyed sisal, mixed media, wood and 3d painting wax and acrylic paint
  • Execution: Venice Studio California
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Commission: Zavarovalnica Triglav, Murska Sobota 1991

Mediated Painting: After Elysian

  • Digital Painting: After Elysium: Diasec Print
  • Medium: Diasec Print
  • Size: 3840mm x 600mm
  • year: 2013

About:

Today, the new media artist is challenging serious premises long associated with painting practice through ‘cross- medium exchange’ with the inclusion of new media technology. Painting methods are investigated and tested for new propositions that are fueled by other mediums, categories and practices such as animation, 3d stereoscopy, film and music. New media enables artists to borrow across disciplines that are at the times contradicting each other, but in their alchemic mix, fuel each other. The resulting art forms spanning mediums and replace the canvas with an architecture of mapped projections, digital full dome interactive cinemas and 3d stereo projections are testimony to the crucial role that “network-thinking” plays in new possibilities for image–making within.

The series of large scale prints is trying to create a still moment and pause reflecting on representational illusions of animation and linear story narrative.  As animation they are being slowly crunched but  as the painting they are “turning away from the world as seen to the world as understood” and experienced allowing for “profound realism” of the mind against the “superficial realism” of the eye.

Exhibition:

20-22.11.2013 The SIGGRAPH Asia 2013 Hong Kong, Exhibition Title: The SIGGRAPH 2013 Art Gallery: Future/Past. About Annual SIGGRAPH and SIGGRAPH Asia Conferences, are two of the premier technology conferences in the world part of Association for Computing Machinery (ACM), the world’s first and largest computing society and an international community of researchers, artists, developers, filmmakers, scientists, and business professionals who share an interest in computer graphics and interactive techniques. See more at the ACM SIGGRAPH
About the exhibition: Art Installation Mise-En-Scène: Elysian Fields covered 100 sq. meters space including 3 channels looped video projections on 3 layers of “walk through” fabric “walls” each H 280 X 4.5m X1.5 m accompanied by stereoscopic film playing of the large stereo plasma screen. More on Podcasts

28.03- 07.04.2013 1) 28.03-07.04.2013 Exhibition Title “Mise-en-scene solo Elysian Fields By Ina Conradi Chavez”, The Substation Gallery contemporary arts centre, Singapore

Artist Palette: Algorithm

  • Project: ‘Digital Imaging in Singapore: The Integration of digital imagery with traditional art media and techniques for site specific architectural, urban and landscape settings of Singapore.’
  • Date: 01.01.2008-28.02.2010
  • Funding Body: MOE (AcRF) Tier 1 RG105/10
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The following works are details of Algorithm brushes used to create large digital renders.

Natural Systems: Decomposition Red

Natural Systems: Decomposition Gold

Natural Systems: Decomposition Blue

THE RE-ASSESSMENT OF PAINTING & MATERIALS: Algorithm

‘The subject (of the painting) is not the object [in this case, the woman reading], it is a new unity [this new ‘subject of the painting], a lyricism which grows completely from the means (the medium and its manipulation).’ ‘This is to say that it is the act of painting that creates the poetic truth; it is the artist who constructs the image. This making of picture is something similar to the complex of perception and conception that constitutes our true experience of ‘seeing’. Woman reading is as much a painting about the act of painting its subject, that is, about the nature of seeing the natural object, as it is painting of the subject. What is presented to the eye are fragment, suggestions, adumbrations, with some fairly perfunctory indications of the recognizable facts. What is asserted, in purely pictorial terms, is that we encounter the world visually as a succession of moments, nanoseconds of perception, organizing it continuously (and most unconsciously) into a coherence that is necessarily personal to the perceiver.

Sometimes the artist leaves things to the materials themselves, to the colors freely splashed on to the canvas, the burlap or the metal, so that they may speak with the immediacy of a random or unexpected laceration. Thus, it often seems as if the work of art has foresworn all pretensions to form in order to allow the canvas or the sculpture to become what is almost a natural thing, a gift of chance, like those shapes the seawater draws on the sand, or the patterns made by raindrops in the mud…They are using such materials to make an art work and, in doing so, they are selecting, highlighting, and thereby conferring form upon the formless and setting the seal of their style upon it…In this way, therefore, the exploration of materials, or the elaboration of them, leads us to discover their hidden beauty…Finally, today, sophisticated electronic techniques also allow us to find unexpected formal aspects in the depths of material, just as once we used to admire the beauty of snowflake crystal under a microscope. This marks the birth of a new form of ready-made, which is neither a craft nor an industrial object, but profound feature of nature, a structure invisible to human eye…We might call this a new ‘aesthetic of fractals.’

The idea of using automatic techniques of algorithm as a means to generate imagery includes expressive needs parallel to risks Jacksons Pollock took as ‘action painter’ in abandoning traditional studio routines. The act of digital painting creates an equal cooperation between painter and machine that results in a set of rules and in an organizational model that once in motion produces something that is very often independent of author. As organic algorithmic brushes are growing and blending smoothly with one another, the images are spontaneously self-generating, expanding and assuming multifarious shapes. Self-generating painting is conceived again as an ’action’ fraught with risk, but leading, when successful, to the thrilling discovery of original and revelatory image. The main significance is not only on techniques employed rather on artist’s understanding of new digital means and radicality of the works one can produce using algorithm. The technique is not merely mechanical method but is integral to aesthetic expression itself. While lavish and extranvagant in spirit one utilizes most economic means of color, blue, red or gold to get to a special kind of lyricism. Often symmetrically mirrored kaleidoscopic imagery reflects characteristics of algorithms as “comprehensible yet unpredictable descriptions of themselves”. As such, it is in principle easily possible to articulate any number of the same work. Within a picture, the system of rules can also be expanded at will. Work becomes prototype of similar series of work. Given the arbitrary repeatability, this set of works requires, the question of originality arises. Nonetheless: even though we are familiar with the simple method behind the generation of this picture, there is always something mysterious and exciting about it.”

‘Paradoxically the commitment might be to the creation of imagery that is ‘automatic’, hallucinatory method that is, arrived at without conscious deliberation, as the consequence of spontaneous arbitrary ‘actions’ rather than of considered 3d intentions. Its unpremeditated and unpredictable forms were derived, from the individual or collective consciousness, rather in the manner that free association or dreams had been demonstrated by psychoanalysis to bring into view things normally hidden from the conscious mind. ‘

Digital Painting: Variations 2005-2007

  • Medium: Digital Paintings
  • Year: 2005-2007
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The works are originally done in 2005-2007 but on a very small scale 215 mm × 280 mm. The plan was to use HumanEyes Technologies to develop lenticular print..For that each digital painting was set in virtual space and single camera  reconstructed multiple viewpoints by rendering 150 frames panning in 360 and recording static  Maya painted scene from different directions. The technology is suitable for creating 3D images for print and for presentation on electronic displays / monitors.

With Arrival to NTU in 2007-  script was done to render images to a higher resolution. All rendering was done at the time locally as the render farm was non-existent in ADM. Large scale paintings were further edited in Photoshop as to improve the looks of algorithmic paint brushes that significantly changed look with scale and due to unforeseen distortion needed slow and tedious edit pixel by pixel .

Maya Paint Effects offers a wide variety of brushes that can add real-time effects to the digital scene and it is a paint technology commonly used in the feature film visual effects industry to render realistic attributes. This powerful and intuitive paint system enables the artistic creativity to generate images and structures as unusually poetic artistic visualizations. Rather than employing brushes to render realistic and objective imagery, brushes are used in itself to signify theme and define space. The challenge presented was to make use of these available presets to create novel and unique imagery utilized with a random principles commonly used in non-objective expressive painting methodologies. The interactive process of painting enables brushes to be drawn fully rendered providing immediate feedback in true 3D space, painting on or between 3D objects in a scene and on more traditional 2D canvas. With hundreds of attributes that can customize brush complexity artist can attain infinite ‘painterly improvisations’ parallel to Kandinsky’s ‘heavenly paradise’. (Long, 1986) The process of blending also contributes to molding new brushes by taking the shape or color attributes of a selected brush and combining those elements into brush variation. An extensive range of traditional painterly brushes, including airbrushes, oil paint, wet brushes are blend and morphed together. Simulated organic growth feature is used to develop the brush tubes over time and have them sprout branches, twigs, leaves, flowers, and buds. Adjusting the attributes in each of these subsections allows one to simulate many natural and some unnatural effects Setting different attribute combinations in editing tube brush’s texture for example, triggers abstract paint marks to grow, unfurl, or sway in the wind. Results of these experimentations were large scale rendered abstract paintings. Monumental when printed up to 2378 mm X 1682 mm size at 300 dpi, each up to 2 GB.

On Meaning of Abstraction in Art

Abstract art challenges the viewers in a particular way: they are required to look with fresh eyes at pictures that are different. They have to discard old habits, such as the desire to recognize something… abstract art does not imitate, it represents in a different way. Viewers find no affirmation of themselves in what they see. They are denied the satisfaction of re-encountering a known reality…One of abstract art’s great discoveries is undoubtedly to have made reality’s energetic side visible again. It helps us to comprehend that Nature is just as invisible, immaterial and dynamic as it is tangible, concrete and static. The importance of the in-between is rediscovered. The abstract representation of reality is founded on the two-way flow of visual energies. Gottfried Boehm (1994)

‘A painting is made with colored paint on a surface, and what you see is what you see’. This popular and melancholy cliché is so remote from my own concern. In my experience, a painting is not made with colors and paint at all. I do not know what a panting is; who knows what sets off even the desire to paint? It might be things, thoughts, a memory, sensations, which have nothing to do directly with painting itself. They can come from anything and anywhere, a trifle, some detail observed, wondered about and, naturally, from previous painting. The painting is not on a surface, but on a plane that is imagined. It moves in the mind…I think the idea of the pleasure of the eye is not merely limited, it isn’t even possible. Everything means something. Anything in life or in art, any mark you make has meaning and the only question is ‘what kind of meaning? Philip Guston (1978)


‘Cityscape Singapore’ Panorama Photography 2008

  • Dates: 01.01.2008- 28.2.2010
  • Project: Digital Imaging in Singapore: The Integration of Digital Imagery with Traditional Art Media and Techniques for Site Specific Architectural, Urban and Landscape Settings of Singapore
  • Funding Body: Academic Research Fund (AcRF) Tier 1 Singapore Ministry of Education (MOE) RG105/10

 

Fascination with   contemporary installation and architecture, evoked a desire for renewing and elevating the existing sites through various art proposals and virtual renderings. Art works triggered and evoked new emotional responses to given space, transforming urban and built, into a more personalized interaction to contemplate new space. These virtual proposals are not meant to be manifest of  the artist’s  identity, or an idea or personal emotion rather an effort to heal and at same time exalt the given urban life landscape. Glamorous and non glamorous,- the places were transfigured into new visual experiences serving as harmonious meditative states of everyday metropolis life.

Throughout the design process, digital prototyping was used for art visualizations of Public Art design proposals in Singapore’s various outdoor and indoor architectural settings. Panoramic and wide-angle digital photography played a significant role in documenting numerous urban and architectural locations in Singapore. It was to be repurposed for virtual art visualizations. However  panorama was not just used as a backdrop for virtual sculptures rather it had its profound effect on influencing choice of image, material and  final art ideas visualized, thus contributing to their factual existence.

Using the computer a simulated dimensional model of space was created followed by a series of renderings for the deployment of individual pieces within that space. Photorealistic renderings and short ‘fly- through’ animations of compositions were done as a part of visualization. Autodesk® Maya® software was included to design, iterate, validate, and visualize art compositions digitally.

ISEA 2011 Virtual Art Installation Proposal

  • Installation Proposal: ISEA 2011
  • Media: Maya

Paper Title: Stereo Animated Pictorial Space: Le Phénomène Atmosphérique”, was selected for Paper Session: “Computer Graphics and Remediation”, 17th International Symposium on Electronic Art, ISEA 2011 Istanbul 14-21.09.2011

At the same time I have submitted entry proposal for ISEA Art Gallery. While the proposal was not accepted it was referenced for the paper.

Previous ISEA Paper Title: “Digital Imaging in Singapore, Internal External”, at the  ISEA 2010 RUHR.Conference Proceedings ISBN 978-86895-103, pp 259- 261, The 16th International Symposium on Electronic Art, ISEA2010 RUHR, Germany, VHS Dortmund, ISEA2010 RUHR

Port of Call 2011

  • Event Title: 'Port Of Call'
  • Date: 22.2-15.04.2011
  • Medium: Digital Painting, Maya Paint Effects Next Limit RealFlow
  • Output: Digital print on archive paper
  • Size : 1189x841mm

The series of digital Paintings were done for the exhibit titled ‘Port Of Call’ featuring Selected Works By Faculty from Nanyang Technological University, School of Art, Design and Media, Guest Curator Robert B Epp, ADM Galleries, Nanyang Technological University, Singapore About the Exhibition
In preparation for the exhibit rendered were at high-resolution series of sequences that would complement
Works Exhibited Animated Film “Emotion Study” as a backdrop.

Illustration

  • Fairy Tales Illustration Series: Frog Princess
  • 2003: Maya Paint Effects
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From ancient times Fairy tales, myths, stories have always been embedded with instructions which have served as a guide regarding the complexities of life. The series of illustrations were done for 2003 project Proposal aimed to restore the skills of story telling and oral tradition using AI engine and games. The site would have a live 3D Character that will narrate famous myths, fairy tales and stories. The character will be driven by an AI engine enabling it with an expert knowledge of any given subject with an IQ equivalent to a 250 IQ. The narrator will be available for questioning at any given point: before narrating the story, during and afterwards.The stories will be told in numerous languages so they can become part of a learning tool for language.

The Substation Open Call – Virtual Art Proposal

  • Date: 05.11.2012
  • Venue Proposal: The Substation Gallery, A home for the Arts, Singapore
  • Credits: Animation by Tan Cheng Quan
  • The works are supported: y Academic Research Fund (AcRF) Tier 1 Singapore Ministry of Education (MOE), Nanyang Technological University and School of Art Design, and Media (ADM/NTU) and Institute for Media Innovation (IMI/NTU).

Proposal: War Exhibit Virtual Fly-through

For the occasion of the exhibition The Substation Gallery will be recreated into scenes from the film “Elysian Fields”. Combining movie projection, sound, real effects installation would explore surreal themes of WWII.

Size

113 square metres/variable

Medium

Projection, animation, 3d rapid prototype, 1x Antari HZ-500 Professional Hazer, 5 x 300w moving head beam , Fold-able paper planes size 4m by 2m

About The Substation Gallery

Over the years The Substation Gallery has welcomed diverse and challenging contemporary visual, performance, and sound art. Founded in 1990 by the late Kuo Pao Kun, The Substation is Singapore’s first independent contemporary arts centre, located in Singapore’s city’s civic district. Over the years, The Substation has worked with some of Singapore’s most critically acclaimed artists, writers and intellectuals; currently we are working closely with our Associate Artists. Always open to new proposals and ideas, it encouages artists to submit proposal once a year for solo exhiition.The Substation is a recipient of the National Arts Council’s Major Grant 2013-2014 http://www.substation.org/

Film Web Site

http://www.elysianfieldsfilm.com/

Vzigalica Gallery Installation- Virtual Art Proposal

  • Date: 17.09.2012
  • Proposal Title: Call for Applications 2013 and 2014 Vzigalica
  • Venue: Municipal Museum Ljubljana, Vzigalica Gallery, Slovenia, Europe
  • Credits: Animation Tan Cheng Quan
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 About the proposal

This isvirtual proposal for installation that would be dedicated to my father, WWII veteran. Proposed is to recreate abstract and surreal film Elysian Fields through projection and sculpture installation and archived texts from history about my dad’s life.While walking through flak of enemy fire, sequences of vast night sky and seascape will be projected across the movable screens of the gallery space.

 

About Vzigalica Gallery

The name “Vžigalica” means “match” in English.

The Gallery’s objective is to act as a laboratory for new ideas, creative formulas and different attitudes which invariably arise from high-quality contemporary artistic production.The projects presented are compiled bearing in mind the fact that the Vžigalica Gallery is the most flexible part of Ljubljana’s central museum and gallery institution whose fundamental values as regards presentations of both the heritage and contemporary art practices reflect accessibility, quality production, instructiveness, professional competence, creativity and co-operation.

Abstraction in visible- Virtual Public Art Proposals

  • Date: 01.01.2008- 28.2.2010
  • Project : Project Title Digital Imaging in Singapore: The Integration of Digital Imagery with Traditional Art Media and Techniques for Site Specific Architectural, Urban and Landscape Settings of Singapore
  • Funding Body: Academic Research Fund (AcRF) Tier 1 Singapore Ministry of Education (MOE) RG105/10
  • PI: Ina Conradi Chavez (Asst Prof)
  • Award : Prize of Effort for the Singapore Regional Award

ABSTRACTION IN VISIBLE

 

When the digital print combines with traditional painted medium of what importance is the significance of the surface? The proposed visualizations and materialized works delved into an innovative approach toward image creation methodologies, researching and integrating emotive and subjective abstract imagery in digital, traditional and non-traditional forms. Implementing the latest technologies in image creation works documented emotive spaces and impressions of Singapore to build illusions of three-dimensional creative vision; moving forward to using this imagery as a resource for more creative work that will be comprised of an exploration of manipulated surfaces and mixed media structures in site specific settings.
Contemporary painting practice is not taking advantage of integrating traditional painting methods of abstract painting with available digital prototyping and printing devices to create high impact artworks in public spaces. Usually the outcome of digital painting is dull digital print that lacks the physical presence interest and excitement of traditional art forms. To avoid that the aim was to customize unusual materials and transferring digital images to absorbent, non-absorbent and three-dimensional surfaces. Layering digital paintings within virtual and real urban public spaces originated extraordinary art visualizations extending beyond traditional canvases. Working on an architectural scale created an even greater physical presence of digitally generated images. Once imagery is combined with outsized and multidimensional surfaces, the creative possibilities become vast and influence applications of new emerging technologies. Parallel with digital visualizations and prototyping experimenting with a wide range of numerous uncoated flexible and rigid substrates was possible with the help of specialized large format UV curable flatbed inkjet printers, – UV VUTEk ® QS2000 series and Mimaki JF Series, perfecting ultraviolet (UV) curable inks . A number of physical prototypes were test-printed using various printing substrates (rice paper, textiles & dye sublimation, textured canvas, metal, acrylic polycarbonate, Dibond).

Abstraction in Visible are a series of visual explorations proposed for Singapore Cityscapes and later proposed and executed for solo exhibitions in Singapore and  Japan.

Animated Short Film Competition-The Oscar 86th Academy Awards

  • Date: 19.10.2013
  • Place: Chinese Theatres Hollywood
  • Film Screened: Elysian Fields (11min)
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Animated Short Film Reviewing Committee Private Screening for The Oscar 86th Academy Awards

About the Event

“Elysian Fields” was screened in the Animated Short Film Competition at the Chinese Theatres Hollywood in 2013 late fall. The Academy’s Short Films and Feature Animation Reviewing Committee viewed all 56 eligible entries for the preliminary round of voting at screenings held in New York and Los Angeles and the Short Films and Feature Animation Branch members will select three to five nominees. In this year competition were films “Feral” Dir.: Daniel Sousa (Daniel Sousa) “Get a Horse!” Dir.: Lauren MacMullan Walt Disney Feature Animation), “Gloria Victoria” Dir.: Theodore Ushev,(National Film Board of Canada), “Hollow Land,” Uri Kranot and Michelle Kranot, directors (Dansk Tegnefilm, Les Films de l’Arlequin and the National Film Board of Canada), “The Missing Scarf,” Eoin Duffy, director, and Jamie Hogan, producer (Belly Creative Inc.),“Mr. Hublot,” Laurent Witz, director, and Alexandre Espigares, co-director (Zeilt Productions) “Room on the Broom,” Max Lang and Jan Lachauer, directors (Magic Light Pictures, “Possessions,” Shuhei Morita, director (Sunrise Inc.),“Requiem for Romance,” Jonathan Ng, director (Kungfu Romance Productions Inc.)

Acknowledgement

MOE (AcRF) Tier 1 RG 55/10,3D Project Title “Stereo Animated Pictorial Space: Towards New Aesthetics in Contemporary Painting” 2011-2014

NTU/IMI Seed Grant M4080760.B40 Project Title “Unframed”  2011-2013

The 27th Southeast Asian Games (SEAG)

  • Date: 22.12.2013
  • Creative Director : Philip Tan
  • Elysian Fields: Scroll to 4:16

SEAG Closing Ceremony, Singapore Segment, Naypyidaw, Myanmar

About the Event

The ceremony marked the start of Singapore’s hosting of the 2015 edition. The short sequences of visuals from the “Elysian Fields”, were projected on the large LED screens during the dance segment. The images were 6-storeys High. A spectacular closing ceremony illuminated by fireworks, animation and thousands of dancers featured at the 30,000-capacity stadium in the capital Naypyidaw. One-hundred international journalists, 100 international broadcasters and 300 local journalists were present.

 

Le Phénomène Atmosphérique ( 3D Stereo Movie)

Le Phénomène Atmosphérique ( 3D Stereo Movie)

Ars Electronica Deep Space-Elysian Fields

  • Date: 5-5-9.09.2013
  • Ars Electronica Festival 2013:
  • Event: Deep Space Live
  • Place: Ars Electronica, Linz Austria
  • Research Project: MOE (AcRF) Tier 1 RG 55/10 and IMI Seed Grant M4080760.B40
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http://www.flickr.com/photos/arselectronica/9676920137/

About

2013 Ars Electronica Festival brought together neuroscientists and computer engineers, artists and philosophers for an in-depth consideration of TOTAL RECALL and an endeavour to elaborate on how we human beings deal with storing our memories and preserving them. In going about this, the focus was on three key aspects: (neuro) scientific findings and insights about what memory actually is and what meaning it possesses for our consciousness and our identity; the various cultures of remembrance and the diverse storage media used in the past and the present; and future forms and methods of conserving memory. More than 500 artists, scientists and scholars from 45 countries contributed their perspectives, speeches, installations, performances and interventions to this year’s festival. 421 events made up the festival line-up and festival had more than 85,000 visits. “Elysian Fields” was exhibited and screened in Deep Space presentations twice daily over the entire weeklong festival, starring together with featured art virtual installation by Mind Games, FH OÖ Campus Hagenberg (AT), Voices of Aliveness by Masaki Fujihata (JP). I was honoured “Elysian Fields” shared the same Deep Space platform with the HR Giger, a Swiss surrealist painter, Academy Award winner for Visual Effects for American science-fiction film “Alien” (Dir.: by RidleyScott)

Film Web Site: www.elysianfieldsfilm.com

Download the Press Kit

Poster

 

Solo Exhibition-GalleryGallery

  • Date: 18 JUL – 31 AUG 2009
  • Curator: Keiko Kawashima Director GalleryGallery
  • Venue: GalleryGallery, International Contemporary Textile Art Center, Kyoto, Japan
  • Genre : Art Installation
  • Size: Variable
  • Medium: Digitally generated still images on UV VUTEk ® QS2000 back-lit polycarbonate

About “Natural Systems: Elixir of Gold”

The installation is a constructed multi layered environment combining video projection, 3D computer animation and space modifiable backlit digital print. Using dreams as a conceptual motif and adopting simulated natural phenomena such as flow and growth, the work explores organic and natural design leading viewer thorough the aesthetic impression and internal contradictions of a dream states sensibilities.

 Acknowledgment

MOE AcRF TIER 1 RG105/10 (M52090000), MINISTRY OF EDUCATION SINGAPORE
Project Title “Digital Imaging in Singapore”, 01.01.2008-28.2.2010, PI Ina Conradi

The SIGGRAPH Asia 2013 Hong Kong, Art Gallery: Future/Past

  • Date: 20.11-22.11.2013
  • Venue : The Hong Kong Convention and Exhibition Centre (HKCEC)
  • Genre: Immersive Art Installation
  • Size: 10m x 3m
  • Organizers : The 6TH ACM Siggraph Conference and exhibition on Computer Graphics and Interactive Techniques in Asia, SIGGRAPH Asia
  • Type : Juried Group

About

Art Installation Mise-En-Scène: Elysian Fields covered 100 sq. meters space including 3 channels looped video projections on 3 layers of “walk through” fabric “walls” each H 280 X 4.5m X1.5 m accompanied by stereoscopic film playing of the large stereo plasma screen.

Annual SIGGRAPH and SIGGRAPH Asia Conferences, are two of the premier technology conferences in the world part of Association for Computing Machinery (ACM), the world’s first and largest computing society and an international community of researchers, artists, developers, film makers, scientists, and business professionals who share an interest in computer graphics and interactive techniques. See more at the ACM SIGGRAPH Asia.

 Acknowledgement

NTU, INSTITUTE FOR MEDIA INNOVATION Seed Grant, (M4080760.B40)
Project Title “Unframed” PI Ina Conradi
MOE AcRF TIER 1 RG 55/10 (M52090031) MINISTRY OF EDUCATION SINGAPORE
Project Title”3D Stereo Animated Pictorial Space: Towards New Aesthetics in Contemporary Painting” PI Ina Conradi
NTU, SCHOOL OF ART, DESIGN AND MEDIA

 

Book – Stereo Pictorial Space

30.09.2012 Title: “3D Stereo Pictorial Spaces: Towards New Aesthetic in Contemporary Painting”, Author Ina Conradi, Editor Jayapriya Vasudevan, Singapore ISBN: 978-981-07-2246-3, Ref No.H201205030018, pages 180, 2012-09-30 Self Published book on results from AcRF Tier 1 research 2012.

Book – Internal External

10.02.2010 Title: “Internal External”, Author I. Conradi, Editor Jayapriya Vasudevan, Singapore, ISBN 978-981-08-5116-3, pages 140, 2010-10-02. Self-Published book on results from AcRF Tier 1 research.

Ars Electronica Deep Space-Le Phénomène Atmosphérique & Dreams

  • Date: 31. 08-6.09.2011
  • Ars Electronica Festival 2011:
  • Event : Deep Space Live: Dreams/Le Phénomène Atmosphérique,
  • Co-PI: Dr. Xiao Wei SUN, EEE/, NTU
  • Place : Ars Electronica Linz Austria
  • Research Project: IMI Seed Grant

About the Festival

Since1979, Ars Electronica is an internationally unique platform for digital art and media culture. It is the most important festival of digital art world wide. The festival is conducted under a different motto each year. Ars Electronica 2011 was titled “Origin, How it all begins” and was organized in cooperation with CERN, Europe. about 550 journalists and bloggers report from the Ars Electronica venue. Key contributors to the festival’s incomparable spirit are the approximately 35,000 annual visitors. Screening of two stereoscopic 3D stereo animated films, Dreams 4:37 and Le Phénomène Atmosphérique 4:00 min. Films needed to be adapted and re-rendered for Stereoscopic 3D immersive 8 Channel Video Projection Deep Space platforms. It is designed for 3D applications at high resolution in 3 dimensions. A total of eight 1080p HD and Active Stereo-capable Barco Galaxy NH12 projectors and 16×9-meter images displayed on the Deep Space’s wall and floor.

 About the Institute for Media Innovation

IMI strives to be an incubator of multidisciplinary cutting edge media related research ideas and establish Singapore as a key player at the forefront of the global interactive digital media revolution. One of the goals of IMI is to forge strong interdisciplinary partnerships amongst other global players thereby bridging the academia and industry through technology transfers and spin-offs.

Link to Film Web Site:

http://www.lephenomeneatmospherique.com

3D Stereo Animated Pictorial Space: Towards New Aesthetics in Contemporary Painting

  • Date/Period: 1.3.2011-28.12.2014
  • Project : Academic Research Fund (AcRF) Tier 1 Singapore Ministry of Education (MOE) RG 55/10
  • PI: Ina Conradi Chavez (Asst Prof)
  • Co-Pi: Dr. Xiao Wei SUN, EEE/ NTU
  • Film Web Site: http://www.elysianfieldsfilm.com/
  • Awards: 14 International Awards

About

How can artist influence new technological initiatives and push the expressive capabilities of 3D Stereoscopy towards a new pictorial space? How can we create fully immersive 3D stereo painting where large scale moving paint marks and textures would appear to exist in real space? Should painting expand the aesthetic experience by opening to new methods, other disciplines and to a different audience? The art practice-led project explored the use of 3D stereo for painting, video and digital art. Creative output resulted in 3D stereoscopic animated films for cinema, installation and for stereoscopic immersive visualization venues, such as 320° degree curved NTU IMI Immersive Room and Deep Space Ars Electronica. The project was platform for quality training for ADM graduates in areas such as commercially produced digital art, 3D stereoscopic animated movies, and visual effects. Resulting 2013 “Elysian Fields”, short animated stereo 3d film was competing and screened at the 86th Academy Awards Animated Short Film Competition Screening known as the OSCARS.

Stereo Anaglyph tests Animation by Joshua Tan and Khoo Yi Hui, Stereo Animation/Auto Desk Maya/ Next Limit Real Flow

 

Solo Exhibition – InternalExternal

  • Date: 13.02-3.03.2009
  • Venue: Post-Museum, Singapore
  • Genre : Art Installation
  • Size: 100 sgm/variable
  • Medium: 12 Digital Paintings, back lit UV VUTEk ® QS2000, each H2.27 X W1.00 X D0.008 m, video large scale projection

About

The fusion of symbol and meaning in Hinduism esoteric ideas expressed through use of basic geometric figures in Sri Veeramakaliamman Hindu Temple located in Little India Singapore influenced the art work planning for exhibit in Post-Museum.  The architecture have integrated expressions of nature and its sacred organic abstract geometry for temples interior patterns. In my early textile works the process of weaving a pattern was also very similar to creating of image through computer algorithms, where all the pattern color values of pixels are calculated line-by-line. While the weaving is made by hand, a magic thread weaves the digital image using computer language.

‘Internal External’ is multi layered environment combining large backlit digital paintings as an emotive and tangible interface between interior and exterior space. The aim was to expand the absolute understanding of space and to transform  it into magical experience.

Acknowledgment

MOE AcRF TIER 1 RG105/10 (M52090000), MINISTRY OF EDUCATION SINGAPORE
Project Title “Digital Imaging in Singapore”, 01.01.2008-28.2.2010, PI Ina Conradi

More on art works

Abstraction and sacred geometry.

‘There is no aspect of life that does not reveal to us an infinity of the new and unexpected if we approach it with the knowledge that it is not exhausted by its visible aspect, that behind the visible there lies a whole world of the invisible, a world of comprehensible forces and relations beyond our present comprehension. The knowledge of the existence of the invisible world is the first key to it.’
(Ouspensky, 1912)

‘The eternal center and birth of life.are everywhere. Trace a circle no larger than a dot a birth of eternal nature is therein contained’.
(Jacob Bohme)

‘Several ideas are common to most myths world views: the universe is a single, living substance; mind and matter also are one; all things evolve in dialectical oppositions, thus the universe comprises paired opposites (male- female, light-dark, vertical-horizontal, positive – negative); everything corresponds to a universal analogy, with things above as they are bellow; imagination is real; and self -realization can come by illumination, accident or an educed state: the epiphany is suggested by heat, fire, or light.’
(Senior, 1968, pp. 39-41)

‘The ideas that underlie mystical beliefs were augmented by illustrations that, because of the ineffable nature of ideas discussed, were abstract or emphasized the use of symbols. Sacred geometry is inextricably linked with various myths and mystical doctrine.Thus sacred geometry treats not only of the proportions of the geometrical figures obtained in classical manner, but of the harmonic relations of the parts of human being with one another; the structure of plants and animal; the forms of crystals and natural objects, all of which are manifestations of the universal continuum…Since the earliest times, geometry has been inseparable from magic. Even the most archaic rock-scribings are geometrical in form. These hint at a notational and invocational system practiced by some ancient priesthood. Because the complexities and abstract truth expressed by geometrical form could only be explained as reflections of the inner most truths of the world’s being, they were held to be sacred mysteries of the highest order and were shielded from the eyes of the profane. Specialist knowledge was required to draw such figures, and their mystic importance was unheeded by the untutored masses. Complex concepts could be transmitted from one to another by means of individual geometrical symbols or combination of them without the ignorant realizing that any communication had taken place’.
(Pennick, 1980)

 

Spectrum-Virtual Art Proposals

  • Proposal Title: Substation Open Call Singapore
  • Funding Body: NTU IMI Seed Grant M4080629.B40
  • Proposed Date : March 2012

About

An installation proposal for Substation Gallery in Singapore includes large scale multiple mapped immersive projection and digitally fabricate circular paper sculpture to transform exhibit space into impressive weather landscape.

The visuals will be projected onto the multiple suspended canvas screens. Each screen will be able to play different “weather” sequence, and to be triggered to combine into one large projection.The gallery room will invite the visitor to set out on exciting journey through the 17m undulating animated projections constructed along the gallery walls.

The installation will feature a paper sculpture at the one side of the Gallery Space. A software -aided 3D surface projection system will be used to cover the object with a seamless 360 degree projection.  An additional sensory system will detect people ‘s proximity so that the visual appearance will change continuously with evolving visual moods and graphic styles. Digitally fabricated, crafted and folded by hand using paper, this amorphous sculpture would give tactile and physical equivalent to intangible and expanding visuals of the illuminated projections in the rest of the space.

Objectives/Scopes and benefits

Project explores new possibilities by means of new media and digital technologies, dynamic transversal and per formative characteristic of architecture and space. The art installation will be adding new level of intricacy in viewing art and experiencing spaces. Works will go beyond conventional notions and limitations of both space and painting. How designs use digital fabrication/production and material techniques to calibrate between virtual animated world and imagery and physical artefacts combined will be illustrated in this experiential and intuitive painterly abstraction.


Mise-en-scène: Elysian Fields

  • Date: 28.03- 07.04.2013
  • Venue : The Substation Gallery, Singapore
  • Genre : Immersive Art Installation
  • Size: variable, 100 sq. meters
  • Medium: 00 sq. meters space: 3 channel looped video projections on 3 layers of
  • Credits: Credits: Animation TAN CHENG QUAN, DAVIER YOON Music JEREMY GOH Exhibition Collaterals DESMOND NISHIKI

PILOTCLOSEUP_OIL

 

About

Inspired after the French term Mise-en-scène, which literally means “putting on stage”, the installation brings together media of animation and digital fabrication to visually recreate film experience in gallery space. War heroes inspired film Elysian Fields, (HD Stereo, June 2012, Conradi,I.), is transformed via projection in real space and with tangible materials. The installation attempts to bring complete and self-contained cinema environments into being. While walking through flak of enemy fire, sequences of vast night sky and seascape are projected across 17 m of the gallery space, opened to viewers’ own imagination and de constructing the movie linear narrative into intricate and intuitive experiences.

Acknowledgement

NTU, INSTITUTE FOR MEDIA INNOVATION, Seed Grant, (M4080760.B40)
Project Title “Unframed,”  PI Ina Conradi 

NTU MINISTRY OF EDUCATION SINGAPORE MOE, (AcRF) Tier 1 RG 55/10 (M52090031),
Project Title  “3D Stereo Animated Pictorial Space: Towards New Aesthetics in Contemporary Painting,” PI Ina Conradi

Dreams, Stereoscopic 3D Animation 2008-2010

  • Film Title: Dreams (2010)
  • Duration: 4:37
  • Medium: Stereoscopic 3D Animation
  • Genre: Art Experimental
  • Directed/Produced by: INA CONRADI
  • Co-Directed/Produced by: MARK CHAVEZ
  • Animation and Stereography: TAN CHENG QUAN, Joshua
  • Music & Sound Design : PHILIP TAN
  • Vocalist: Bhagya Murthy
  • Crew: Lim Yuan Wen, Lam Yaochneg
  • Technical Support : Teo Cheng Lim

 

Director’s Statement

Dreams  combines digital drawings with experimental animation, and invites viewers to go on a kaleidoscopic journey into abstract worlds of imagery. Originally completed in 2007 the film’s first version was 40 minutes in length and screened for the occasion of The 4th Xposition ‘O’ Contemporary Dance Fiesta 2007, 4th Biennial Event; Art Performance Titled: Boundaries,@ Gallery Theatre National Museum of Singapore. Following were short 4:37 min version in 2008 and in 2010 stereoscopic 3D animated variation. Film was also configured for 3D stereo immersive viewing in 320 degree curved theatre in the Institute for Media Innovation, Nanyang Technological University, Singapore and Ars Elctronica Deep Space, Linz , Europe.

 

IMG_5129

Acknowledgement

The project is supported by Ministry of Education, Singapore, MOE (AcRF) Tier 1 RG105/10 (M52090000), Project Title “Digital Imaging in Singapore”, 01.01.2008-28.2.2010, PI Ina Conradi

List of Screenings

  • Perspectives in Animation, Hong Kong (Lee Wai Lee) Department of Multimedia and Internet Technology (MIT) Supported by PCCW, PCCW Solution, ACM SIGGRAPH Hong Kong Professional Chapter (Invited) (2012)
  • Demo Exhibit and Screening Le Phénomène Atmosphérique in the IMI Immersive Room, on occasion of NTU College of Engineering Workshop on 3D Interactive Digital Media, (3D IDM) Nanyang Technological University, Singapore (2012)
  • New Media Village@IMI, Official Opening of the Immersive Room, The Institute for Media Innovation, Nanyang Technological University Singapore (2011)
  • Ars Electronica Festival 2011, “Origin” Festival for Art, Technology and Society, Deepspace Live, Linz, Austria, (2011)
  • Permanent Screening Event Title: Shiny Art permanent works of global contemporary video art, (2010)
  • ‘Dimension 3 International S-3D and New images forum -Dimension 3 Festival’, Seine-Saint –Denis, France, (2010)
  • 10th Anniversary Digicon 6 Singapore, Genexis Theatre, Fusionopolis (2008)
  • PIXELPOPS! 2008, Wide Open Venue Krannert Art Museum University of Illinois (2008)
  • ‘IMI/ADM Demo-Graphics’, ISEA Conference /IMI NTU (2008)
  • ‘Boundaries, Xposition ‘O’ Contemporary Dance Fiesta 2007’, Gallery Theatre, National Museum of Singapore (2007)

Stereo Pictorial Spaces

  • Date: 1.10.2010. - 30.11.2011
  • Funding Body: Institute for Media Innovation, Seed Grant M4080629.B40
  • PI: Ina Conradi
  • Co-PI: Dr. Xiao Wei SUN, EEE/, NTU
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About

Project establishes pipeline, 3d stereo testing and pre-production for 3D Stereo animated content. The project involved experiments with light, optical and abstract experimental animation. Generated was the first animated 3d stereo content in ADM and learning process started for better understanding of the newly installed 320˚degree Immersive Room at the Institute for Media Innovation. NTU Singapore. The IMI Seed Grant to follow titled “Unframed” expedited the process and allowed works to be completed for Ars Electronica Festival 2011 Deep Space venue and one of the most prestigious festivals for the New Media Digital Art in the world. The film plays with optical effects and fluids.

Visit the film website: http://www.lephenomeneatmospherique.com

Emotion Study, Experimental animation, 9.27 min, 2010

  • Date: 2010
  • Genre: Experimental animation
  • Duration: 9:27min
  • Directed by: Ina Conradi
  • Animation: Ajin Joseph Vattamakkal Antony, Chan Yin Fong, Khoo Yi Hui, Lam Choon Khee, Yew Yong Xiang Ivan
  • Post Production and Editing: Yew Yong Xiang Ivan
  • Music : Philip Tan
  • Special Thanks: Mark Chavez
  • Project: MOE AcRF Tier 1, NTU and NRF/MDA Co-Space, and students at the School of Art Design and Media at Nanyang Technological University in Singapore

Synopsis

Expressive paintings were layered into animated compositions manifesting energy of five emotions: Gloom, Torment, Fear, Loneliness and Lust.

Screenings

2012 Brooklyn Film Festival (2012),  Brooklyn, New York, USA

2011 Permanent Screening Event Title: Shiny Art permanent works of global contemporary video art.

2011 Port Of Call Selected Works By Faculty from Nanyang Technological University, School of Art, Design and Media, Nanyang Technological University, Singapore (Local Group Show)

2011 Attakkalari India Biennial 2011, International Contemporary Dance and Digital Arts Festival,  Inaugural Corporeal Kaledioscope, National Gallery of Modern Art, Bangalore, India

 

 

REPRINTS_21_may_2012_Page_1LowR


HSS

  • Date: 8.08.2013
  • Location: Nanyang Technological University School of Humanities and Social Sciences
  • Work Title: Gold Conjuctio Internal External 2nd edition
  • Medium: Digital Painting- Large scale back lit canvas print
  • Size: H2435 x L2995 x W6mm

Acknowledgement

Gift/Donation was possible thorugh generous help of to NTU Museum

Zouk Velvet Underground

  • Zouk Velvet Underground: Zouk nightclub complex in Singapore,6700 square feet, Completed November 2011, Interior Architecture & detailing by Phillips Connor. Digital artwork featured in central corridor and lounge by Ina Conradi. Project officer Joshua Tan, Assistant animator Ivan Yew.

“Extensive renovation and redevelopment of the Velvet Underground outlets within the Zouk nightclub complex in Singapore. Creation of new, separated Lounge and Dance clubs, with a variety of creative new feature elements, areas, circulation and support facilities. Origination of all bespoke detailing and materiality for unique feature elements, furniture, finishing and lighting treatments.”

About Work

In fall of 2011, I was asked by founder of Zouk Night Club, art lover and architect Mr.Lincoln Cheng to deliver in relatively short time, large scale art work for the Zouk Velvet Underground, cosy and exclusive Velvet-Underground Lounge. The 17-year-old club had gone thorough many renovations, last one done in 2005. In all of the past renovations of the club interior, the idea and concept was formalized by architect and creative design director Phillips Connor, who himself worked on many projects in Singapore, South East Asia and overseas in USA.

The owner of the club, Mr. Cheng has a large art collection and in particular wanted long corridor connecting the rest of the club with the newly renovated lounge to draw visitors to exciting new venue. Agreed was that the art work should have feel of abstract art action painting reminiscent of Jackson Pollock. The curved corridor leading to lounge is transformed into an bold structural pattern which consists of 300 two meter tall microfibre fins that emit light. Facing these fins is a 15 m long wall to ceiling digital art painting based on animated fluid dynamics.

Research

Unframed

  • Date: 15.8.2011-31/12/2013.
  • Funding Body: Institute for Media Innovation Seed Grant (M4080760.B40)
  • PI: Ina Conradi
  • Co-PI: Mark Chavez
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The project goal is to combine painting with animation’s unique ability to transform environment into art installation, and use IMI extraordinary creative platform as a space to author new media experimentation. Art created investigates the kinds of feelings digital media are capable of generating or enabling us to experience.

Parallel to pre-production and post-production of three stereoscopic animated films for HD Digital Cinema projection concurrently funded by AcRF Tier 1, IMI project’s focus was on how to master creative conceptual(animation narrative) and technical challenges for stereo content for technical specifications for high-resolution and one-of-a-kind visualization environments, such as the curved immersive 320° screen in the Immersive Room at the Institute for Media Innovation, at the NTU and Ars Electronica Deep Space display.

 

 

About the Institute for Media Innovation

IMI strives to be an incubator of multidisciplinary cutting edge media related research ideas and establish Singapore as a key player at the forefront of the global interactive digital media revolution. One of the goals of IMI is to forge strong interdisciplinary partnerships amongst other global players thereby bridging the academia and industry through technology transfers and spin-offs.

About IMI Immersive Room

The immersive room allows the viewers to be completely immersed in the virtual world. It makes use of latest hardware and software including infrared emitters, high end projectors, stereoscopic active lightweight glasses, position trackers, and graphics workstations linked together in a local area network. Electromagnetic 6DOF tracking is implemented to monitor the viewers’ position and orientation. The stereoscopic visualization is supported by an integrated audio sound system. Peripheral devices such as force feedback devices, and gesture gloves can also be integrated into the system. The room is a curved 320 degree screen that is lit by 5 projectors, each with a resolution of 1920 x 1200. The projectors are each connected to one of 5 computers. Each projection overlaps the other to produce a seamless singular image that spans the entire curved screen.

International Collaborations established during the project

 The research ensured support of local and networking and collaborations with regional and international institutions such as:

  • ZKM, Center for Art and Media Karlsruhe, Germany,
  • 3D Innovation Center Berlin
  • University of Arts and Industrial Design Linz, Austria Europe
  • The University of Western Australia Perth
  • Ars Electronica Centre Deep Space Linz, Austria Europe
  • Emily Carr/S3D Centre Vancouver, Canada
  • City University Hong Kong and ALiVE (Applied Laboratory of Interactive Visualization and Embodiment), Hong Kong
  • Macao Science Center, Macao

Alioscopy Glass Free 3D display, Paris France/Singapore

Elysian Fields, 3D Steroscopic Animation

  • Director/Producer: Ina Conradi Chavez
  • Associate Producer: Mark Chavez
  • Assistant Directors: Joshua Tan, Davier Yoon
  • Animation & Stereography: Joshua Tan, Davier Yoon
  • Animation Assistance: Ivan Yew
  • Special Thanks: NANYANG TECHNOLOGICAL UNIVERSITY ADM Stereoscopic Lab Chair (ADM)Vibeke Sorensen (Prof) Research Associate (ADM) Thummanapalli Nagaraju, INSTITUTE FOR MEDIA INNOVATION Director (IMI) NADIA THALMANN (Prof) IMI Immersive Room Technical Executive Koh Hian Hwa, ADM IT Services Senior Assistant Manager (ADM) Teo Cheng Lim, Production Supervisor (ADM) Yeong Chen Hui, ADM Motion Capture Studio Senior Assistant Manager (ADM) Teo Cheng Lim, Marc Porterfield
  • Duration : 11min
  • Medium: Digital animation - Stereo /25 fps
  • Genre: War, Fantasy, CGI, SCI-FI Stereoscopic 3D Animation
  • Project: 1.03.2011-28.02.2014 MOE AcRF Tier 1 RG 55/10 (M52090031)
  • Project: 15.08.2011-31.12.2013 IMI Seed Grant, (M4080760.B40)

Inspired by the sacrifices made by generations preceding us and expanding upon an exploration of World War II, Elysian Fields fuses fantastical and historical into a surreal reconfiguration of the present.The experimental stereoscopic 3D animated short film  Winner of a number of accolades including multiple “Best Animated 3D Short Film” awards the film was shortlisted with other 56 films for Animated Short Film Screening for The Oscar 86th Academy Awards. The film was adapted forthe famous Deep Space Ars Electronica Festival in Linz Austria, as well as at the Beyond Festival at the Zentrum für Kunst und Medientechnologie Karlsruhe, (ZKM) Germany and was in official selection of the 67th Edinburgh International Film Festival, Arizona International Film Festival, New Media Film festival, 9th Annual HollyShorts, Anima Mundi and most recently Washington DC Independent Film Festival SPARK [FWD] 3D, VFX & Advanced Imaging Conference and Festival in Vancouver Canada. Elysian Fields film has been published by the best selling German 3D Content Hub a world-leading content distributor specialized in stereoscopic 3D titles in September 2014.

 

Film web site: http://www.elysianfieldsfilm.com/

Facebook: https://www.facebook.com/ElysianFieldsFilm

Awards

27/04/2013 Audience Choice Awards: Animation, Beverly Hills Film Festival, USA

05/10/2013 Best Short 3D Festival Beyond, the Zentrum für Kunst und Medientechnologie Karlsruhe, Germany
23/09/2013 Best Animated 3D Short Film 3D Film Festival 2013/6th Annual
23/09/2013 Best Animated Short, Phenom Film Festival, USA
15/09/2013 Best Animated Film, The Oregon Independent Film Festival
15/09/2013 Best Experimental/Art Film, The Oregon Independent Film Festival
03/09/2013 Best International Shorts, 2013 CGIF Awards
22/08/2013 3D Short Runner Up, The 9th Annual HollyShorts Film Festival
13/07/2013 Best Animation, Intendence Film Festival
12/06/2013 3D Innovation Award, The 4th Annual New Media Film Festival
05/05/2013 Award of Excellence Animation, Los Angeles Movie Awards
15/04/2013 Award of Merit: Animation, Best Shorts Competition
27/04/2013 Winner 1st Place Animation 2013, 5th Los Angeles Art-House Film Festival
05/04/2013 2013 Rising Star Award Winner, Canada International Film Festival

Screenings

9-11.12.2014 3D Stereo Media, 6th The International 3D Summit for Science, Technology, Art, and Business, The International 3D festival (I3DF), Liège, Belgium
7-8. 11.2014 The 16th edition of the 24FPS International Short Film Festival, The Landmark Paramount Theatre, Abilene, Texas
2014 permanent screening The Mubi Film Forum MUBI is a curated online cinema a global subscription VoD platform to watch films available in over 200 countries around the globe and on multiple devices
5.11.2014 permanent screening on ShortsHD online broadcasting/Electronic Program Guide (EPG) on www.shorts.tv
19-25.10.2014 Xi’an Silk Road International Film Festival
9.-12. October 2014 3D-Symposium Beyond Festival Screening Karlsruhe Center for Art and Media Karlsruhe (ZKM) Germany
9-14. 07.2014 “Best of the Fest” screening National Stereoscopic Association 3D-CON, in Murfreesboro, Tennessee, USA (Invited)
01.05.2014. Spring Showcase Selection, May 1, 2014 The Best in Film and Video, American Online film Awards, hosted New York, USA (Invited)
*23.-27.04.2014 Beverly Hills Film Festival, The Chinese Theatre, Hollywood, US
*19-23.02.2014 Washington DC Independent Film Festival DCIFF, USA
*5-9.02.2014 SPARK [FWD] 3D, VFX & Advanced Imaging Conference and Festival. Festival’s 3D Stereo Short Programme “FILM -Depth Perception: Short Stories in 3D”, Vancouver International Film Centre, Vancouver, British Columbia (BC) Canada. (Invited)
*22.12.2013 The 27th Southeast Asian Games (SEAG) Closing ceremony, Singapore Segment, Naypyidaw, Myanmar. (Invited)
1.-31.12.2013 Creative Arts Film Festival 2013 Edition (CAFF), USA an Annual International Online Short Film festival.
13-15.12.2013″Little Shop of Social Horrors” Shortz Video/Film Festival 2013, The Multimedia Center Academy of Arts Novi Sad, Serbia, Europe
1.12.2013 Best of The Fest The Intendence Film Festival, Casselman’s Venue, Denver Colorado, USA
*13-15.12.2013 10th Annual LA 3-D Movie Festival, Films Featuring Stereography by Women, Los Angeles 3-D Club (SCSC), Downtown Independent Theatre Los Angeles. (Invited)
*19.10.2013 Animated Short Film Reviewing Committee Private Screening for The Oscar 86th Academy Awards, TCL Chinese Theatre Hollywood, (Grauman’s Chinese) Hollywood, USA
*3-6.10.2013 3D Festival Beyond, Center for Art and Media Karlsruhe,(ZKM) Germany Award: Best Short 3D Festival Beyond
*24, 25, & 26 09.2013 “ShortHD at the Movies” Shorts HD’s Academy qualifying release, Mann’s Chinese Theatres, Hollywood, USA(Invited)
20-22 2013 Big Bear Lake International Film Festival, Big Bear Lake, California USA
*19-21.09.2013 3D Film Festival 2013, 6th Annual, Regal Cinemas LA LIVE, Los Angeles, USA (Invited)
19-22.09.2013 2nd International Film Festival Phenom, Shreveport, Bossier City Louisiana, USA
*18-23.09.2013 The Oregon Independent Film Festival, Portland & Eugene, Oregon, USA
*5-9.09.2013 Ars Electronica Festival 2013 “Total Recall, Evolution of Memory”, Deep Space Live, Linz, Austria, Europe
21-25.08.2013 International Film Awards Berlin, (ifab) Sputnik Movie Theatre Berlin, Germany, Europe
*15-25.08.2013 9th Annual HollyShorts Film Festival, TCL Chinese Theatres Hollywood, Los Angeles USA Award: 3D Short Runner Up
*14-18.08.2013 2013 CGIFF/Columbia Gorge International Film Festival Washougal, Washington, USA. Award: Best International Shorts
*2-11.08.2013 The 21st International ANIMA MUNDI 2013
2-11.08.2013 Rio de Janeiro and from 14-18.08.2013 Sao Paulo, Brazil
*12-21.07.2013 The 16th Annual Maine International Film Festival 2013 (MIFF) Waterville, Maine, New England, USA
26-30.06.2013 Intendence Film Festival, Colorado, USA. Award: Best Animation
*19-30.06.2013 67th Edinburgh International Film, Scotland UK;Europe
*11-12.06.2013 The 4th Annual New Media Film Festival Venue: The Landmark Theatres, Los Angeles, California, USA Award 3D innovation
27.04.2013 5th season 2013, The Los Angeles Art House Film Festival, Venue The Actors Company, West Hollywood, Los Angels USA, Award: 1st Place Animation
*12-28.04.2013 22nd Arizona International Film Festival (AzFilmFest), Tucson, USA
04.2013 Best Shorts Competition, La Jolla, California, USA Award: Award of Merit: Animation
*5-6.04.2013 Canada International Film Festival, Vancouver, British Columbia, Canada. Award: The 2013 Rising Star Award/Animation
*24. 01.2013 ANIMATION CROSSING @ Filmgarde Cineplex – BUGIS+, Singapore (Private Stereo Screening)

Publishing

1. 26.09.2014. Best of 3D – The Original-Vol .10-12 [3D Blu-ray], Publisher: 3D Content Hub. Elysian Fields film published by the best selling German 3D Content Hub a world-leading content distributor specialized in stereoscopic 3D titles.

2. 12.08.2013 3D Vision Live NVIDIA online platform for viewing 3D stereo, “Elysian Fields – How it was Made”, Ina Conradi Chavez

 

Digital Imaging: Anatomy of 3rd dimension

  • Project ID: ADM09037
  • URECA Project Category: 1
  • Title: Digital Imaging: Anatomy of 3rd Dimension
  • Student: Tan Cheng Quan
  • Supervisor: Conradi, I. (Asst Prof)
  • Academic Year: 2009/10

The project seeks to identify and experiment with 3D stereoscopic methods and techniques by utilizing 3D packages and compositing software.  The following research is formed as collaboration among faculty, students and researchers from the School of Art, Design and Media and the School of Electrical and Electronic Engineering who share an enthusiasm for painting, emotive animation and 3D stereoscopic fabrication processes.

2009-10_anatomy-3dim-poster

Directing Ina Conradi, Stereo and Animation by Joshua Tan and Khoo Yi Hui, Abstract Composition, Stereo Animation/ Auto Desk Maya/ Next Limit Real Flow

Anaglyph composite viewed with passive Red/Cyan Glasses, standard 3D glasses

Directing Ina Conradi, Stereo and Animation by Ajin

In the Next Limit Real Flow, particles are generated using emitters; fields are then created to influence, move and sculpt them, resulting in the creation of abstract shapes and form. Due to the erratic nature of these particles, trial and error is required to get the desired effect. A layer of polygonal mesh is generated over them to materialize its surface and shape, these are then exported out as *.bin files and imported into Auto desk Maya via a plug in. Resulting animated works will have a unique look and feel.

Anaglyph Filter Method: The final composite is made by taking the red out of the left image and adding it to the blue green of the right image. When you put on your red-cyan glasses, your left eye is only able to see the red light off of that image, and your right eye is only able to see green portion of that image. Using red-cyan as a filter the color of the image gives limitation to color spectrum. There is problem due to color of the object- if the object is predominantly or overly red color the left eye would see it well but the right eye would hardly see any image..this would break the stereoscopic impact. The bellow imagery is black and white so there is no problem due to color.

Other Publications

26.09.2014

 Best of 3D – The Original-Vol .10-12 [3D Blu-ray]

Publisher: 3D Content Hub
Published by the best selling German 3D Content Hub a world-leading content distributor specialized in stereoscopic 3D titles
Best of 3D – The Original-Vol .10-12 [3D Blu-ray]


 

ars_poster

31.01.2014

Ars Electronica Deep Space

Ina Conradi Chavez
Elysian Fields, Page 276-279
Total Recall, The Evolution of Memory,
Ars Electronica 2013 Festival for Art, Technology and Society
Edited by Hannes Leopoldseder/ Gerfried Stocler/Christine Schopf Hatje Cantz
ISBN-10: 3775736301


einvite_13march2013-LR

 

12.08.2013

NVIDIA, and 3D VISION LIVE 3D film.

Published stereo film for screening online on the NVIDIA official site “Elysian Fields How it was made“.


12. 09.2014

“Elysian Fields” film published for the bestselling German 3D Best of 3D – Vol (4) [Blu-ray 3D] 3D Content Hub 8 2014.
3D Content Hub is a world-leading content distributor specialized in stereoscopic 3D titles.

Journals


22.11.2011
Title: “Art at the edges of materiality”
1st Author, Conradi Ina,
Journal on Multimodal User Interfaces
Volume 4 (22 November 2011) Volume 5, Issue 1-2 ( March 2012),
Journal no. 12193
Publisher Springer-Verlag, DOI 10.1007/s12193-011-0074-4,
ISSN(Print) 1783-7677, ISSN (Online) 1783-8738, Page 69-75

Available online at Springer Link.

Invited Presentations


5.10.2013
Int’l. Invited Presentation Symposium

Presentation Title: Talk title: “Unframed”, “Elysian Fields” und “Le Phénomène Atmosphérique” ; Event Name: Parallax-Symposium 3D Festival Beyond, The Zentrum für Kunst und Medientechnologie Karlsruhe,(ZKM) Germany.

About

In 2013 BEYOND presents the second international 3D symposium for experts in collaboration with the EU project “Parallax”. A variety of topics will be discussed, among them the “Third Industrial Revolution” and digital distribution, as well as art and education. The speakers included experts and leading figures in media arts and in the fields of virtual and augmented reality, immersive visualization environments, Prof. Ludger Pfanz, Pavel Smetana. Dennis Del Favero Volker Kuchelmeister Jeffery Shaw, Vibeke Sorensen, Lisa Gotto, Janjaap Ruijssenaars, Thorsten Bauer and experts from industry such as Fraunhofer-Gesellschaft’s ‘3D Innovation Center’ Kathleen Schroeter, Dr Ralf Schäfer.


21.05.2013
Local Invite

Event Name Visiting Delegations from Temasek Holdings, Presentation by Prof Ina Conradi and Mr Xu Di , The Institute for Media Innovation, Nanyang Technological University, Singapore.


2.07.2012
Int’l. Invite

Event Name Invited to visit and to present 3D stereo Animated films, in Department of Animated Film Making Program at GOBELINS, l’Ecole de l’Image, Paris.

About

“Gobelins” is Animation School acquired an international reputation, producing numerous talented individuals and teams which found their place within studios as prestigious as Walt Disney Animation Studios, Universal Studios, Hanna Barbera, Pixar, DreamWorks Animation and Warner Bros. Some of its former students include a great number of strip cartoonists and animation artists such as Didier Cassegrain, Cromwell, Jean-François Miniac, Pierre Coffin and many others. Many industry people of international fame have also taught at Gobelins (Michel Bouvet, etc.)


13.10.2012
Local Invite

Presentation Title “Art Works, Singapore”, Event Name International Symposium on Visual Music, CAAD Centre for Asian Art & Design, School of Art Design, and Media, Nanyang Technological University, Singapore. Programme Link: http://www.adm.ntu.edu.sg/CAAD/Documents/VM%20Programme.pdf


4.10.2011 – 6.10.2011
Int’l. Conference Papers/ Presentations

Presentation Title: “The Undiscovered Country, The Art of Pictorial 3-D Stereo Animation”, Event Name Cyberworlds 2011, International Conference on Cyberworlds, Conference Special Session, ‘Arts and Virtual Worlds,’ Chair Dr. Gianluca Mura, University of Calgary and Banff International Center, Alberta, Canada. Organizers: IEE Computer Society. http://cw2011.cpsc.ucalgary.ca/


17.08.2011
Int’l. Conference Papers/ Presentations

Presentation Title: “Visual Resonance Fine Art and 3D Stereo Pictoriality”, 2011 Eight International Conference, on Computer Graphics, Imaging and Visualization, The Nanyang Executive Centre, Nanyang Technological University, Singapore Prof. Volker Helzle, Head of Research & Development / TD Supervisor, Filmakademie Baden-Württemberg Prof. Andreas Hykade, Professor of Animation Film, Filmakademie Baden-WürttembergProf. Inga von Staden, Director of Studies Inter/active/Media, Filmakademie Baden-Württemberg. Advisory Board, Programme Consultants Victoria Alonso, Executive Vice President of Visual Effects & Post Production, Marvel Studios Andrea Block, CEO and Producer, LUXX Studios/LUXX Film, Paul Debevec, Associate Director of Graphics Research, USC’s Institute for Creative Technologies, Volker Engel, President, Uncharted Territory, Frank Gladstone, President, ASIFA Hollywood, Prof. Nico Hofmann, Producer and Chairman of the Board, UFA FictionAlex McDowell, Production Designer and Creative Director, 5D Institute at USC School of Cinematic Arts.


15.06.2011 – 16.06.2011
Int’l. Invite

Presentation Title “Research Ina Conradi” Department of Industrial Design Linz (Kunstuniversität Linz) Linz, Austria.


26.05.2011
Int’l. Conference

Presentation Title: “Art at the Edges of Materiality,” The 24th International Conference on Computer Animation and Social Agents, CASA 2011, Workshop on Emotion-based Interaction, University of Electronic Science and Technology, (UESTC), Chengdu, China.


20.08.2010
Int’l. Conference Papers/ Presentations

Presentation Title: “Digital Imaging in Singapore, Internal External”, ISEA2010 RUHR Conference, The 16th International Symposium on Electronic Art, ISEA2010 RUHR, VHS Dortmund, Germany. About: Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology. The main activity of ISEA International is the World Top Tier annual International Symposium on Electronic Art (ISEA) held annually.


17.07.2009
Int’l. Conference Presentation

Poster Presentation Title: “Internal/External Digital Art Visualization in Singapore”, Conradi Ina, 13th International Conference on Information Visualization iV09, Pompeu Fabra University (UPF), Barcelona, Spain, Session IV09_2.17: VIZ09~POSTER Workshop.


16.07.2009
Int’l. Invite

Presentation Titled “Ina Conradi Presentation on Internal External“, Department of Material Expression, Textile Department, BFA and Master Program, Kyoto Seika University, Kyoto, Japan. About University Kyoto Seika University, with its Faculties of Art, Design, Manga, and Humanities, is best described as “A Place for Expression.” Seiichi Okamoto, its first president, established the essential principles that have long supported this “Place for Expression.” On founding the school, Seiichi Okamoto envisioned the creation of an entirely new kind of university education, and passionately advocated the concept of a university based on the spirit of freedom and autonomy.


23.04.2009
Local Invite

Presentation Title “ADM Monthly Research Sharing Series“, Presenters: Ina Conradi & Peter Chen, Respondents: Paul Kohl & Danne Ojeda’, School of Art Design and Media, NTU.


25.02.2009
Local Invite

Presentation Title A Talk by Ina Conradi held in conjunction with exhibition Internal External, Post-Museum, Singapore.


29.08.2008
Local Invite

Research Presentation: “Reconstituting Image and Place”, Farming Ideas, Seeding Collaborations-Workshop 2008, NTU Institute of Media Innovation Science Lab, NEC NTU, Singapore.


Conference Proceedings


04-06.10.2011
Paper Title: “The Undiscovered Country: The Art of Pictorial 3-D Stereo Animation,”
1st Author Ina Conradi, 2nd Author Yew Yong Xiang Ivan,
cw, pp.181-188, ISBN: 978-0-7695-4467-0,
2011 International Conference on Cyberworlds, Part Number CSR Proceedings Editor Marina Gavrilova,
Published by CPS (Conference Publishing Services)
Organized by SPARCS Laboratory, University of Calgary, Canada, in cooperation with ACM SIGGRAPH and EUROGRAPHICS, © The Institute of Electrical and Electronics Engineering.
http://www.computer.org/csdl/proceedings/cw/2011/4467/00/4467a181-abs.html

17 to 19.08.2011
Paper Title: “Visual Resonance: Fine Art and 3D Stereo Pictoriality”,
1st Author Ina Conradi, 2nd Author Yoon, Wai Cheong Davier,
IEEE Computer Society Washington, DC, USA ©2011,
Published in Proceeding by CPS (Conference Publishing Services)
Edited by Ebad Banissi, Muhammad Sarfraz: “2011 Eight International Conference, on Computer Graphics, Imaging and Visualization (CGIV)”,
pp, 25-32, DOI: 10.1109/CGIV.2011.30 ISBN: 978-0-7695-4484-7, INSPEC Accession Number: 12317062,
The paper is available online on IEEEXplore; ACM Digital Library, BibSonomy

14 – 21.09.2011
Paper Title: Stereo Animated Pictorial Space: Le Phénomène Atmosphérique”,
1st Author Conradi Ina
Paper Session: “Computer Graphics and Remediation”,
17th International Symposium on Electronic Art,
ISEA2011 Istanbul

20 – 29.08.2010
Paper Title: “Digital Imaging in Singapore, Internal External”,
1st Author Conradi Ina,
ISEA2010 RUHR
Conference Proceedings ISBN 978-86895-103, pp 259- 261,
The 16th International Symposium on Electronic Art,
ISEA2010 RUHR, Germany, VHS Dortmund,
ISEA2010 RUHR

23.08.2009 – 1.09.2009
Paper Title: “Interactive Cinematic Experience Supported by real Time Simulation System: Technology, Methodology and Ideology”,
1st Author Mark J Chavez, 2nd Author Conradi Ina, Liu Linyi, Jamie Telford ,
ISEA2009, The 15th International Symposium on Electronic Art,
University of Ulster, Northern Ireland

11 – 14.08.2009
Poster Title: “Digital Imaging in Singapore: The Integration of digital imagery with traditional art media and techniques for site specific architectural, urban and landscape settings of Singapore, Painting using experimental animation”,
1st Author Conradi Ina,
CGiV09-6th International Conference on Computer Graphics, Imaging and Visualization,
Book of Abstract, pp 52-53,
Tianjin University, Tianjin, China

4-17.07.2009
Poster Title: “Internal/External Digital Art Visualization in Singapore”,
1st author Conradi Ina,
13th International Conference on Information Visualization iV09,
Pompeu Fabra University (UPF), Barcelona, Spain,
page 23 Conference Programme

Animated Short Film Competition-The Oscar 86th Academy Awards

  • Date: 19.10.2013
  • Place: Chinese Theatres Hollywood
  • Film Screened: Elysian Fields (11min)
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Animated Short Film Reviewing Committee Private Screening for The Oscar 86th Academy Awards

About the Event

“Elysian Fields” was screened in the Animated Short Film Competition at the Chinese Theatres Hollywood in 2013 late fall. The Academy’s Short Films and Feature Animation Reviewing Committee viewed all 56 eligible entries for the preliminary round of voting at screenings held in New York and Los Angeles and the Short Films and Feature Animation Branch members will select three to five nominees. In this year competition were films “Feral” Dir.: Daniel Sousa (Daniel Sousa) “Get a Horse!” Dir.: Lauren MacMullan Walt Disney Feature Animation), “Gloria Victoria” Dir.: Theodore Ushev,(National Film Board of Canada), “Hollow Land,” Uri Kranot and Michelle Kranot, directors (Dansk Tegnefilm, Les Films de l’Arlequin and the National Film Board of Canada), “The Missing Scarf,” Eoin Duffy, director, and Jamie Hogan, producer (Belly Creative Inc.),“Mr. Hublot,” Laurent Witz, director, and Alexandre Espigares, co-director (Zeilt Productions) “Room on the Broom,” Max Lang and Jan Lachauer, directors (Magic Light Pictures, “Possessions,” Shuhei Morita, director (Sunrise Inc.),“Requiem for Romance,” Jonathan Ng, director (Kungfu Romance Productions Inc.)

Acknowledgement

MOE (AcRF) Tier 1 RG 55/10,3D Project Title “Stereo Animated Pictorial Space: Towards New Aesthetics in Contemporary Painting” 2011-2014

NTU/IMI Seed Grant M4080760.B40 Project Title “Unframed”  2011-2013

RandomHouze Productions – Interview

RandomHouze Productions Live coverage from the New Media Film Festival.
Interview with Ina Conradi Chavez (director)-“Elysian Fields”

View the interview here.

URECA Proceedings


05.2014
URECA Yearbook 2013, 8th Proceedings of the URECA @ NTU 2012-13
Project ID ADM12031 ADM12010
Paper Title “Independent Movie Marketing
1st Author Chin Li Zhi
2nd Author Asst Prof Ina Conradi Chavez. 


05.2014
URECA Yearbook 2013, 8th Proceedings of the URECA @NTU 2012-13,
Project ID: ADM12010,
Paper Title:”30X30 Visual Branding in Trash“,
1st Author Farhana Ja’afar
2nd Author Asst Prof Ina Conradi Chavez
3rd Author Asst Prof Yeo Puay Hwa Jesvin

05.2014
URECA Yearbook 2013, 8th Proceedings of the URECA @ NTU 2012-13
Project ID ADM12009
Paper Title “Shifting States
1st Author Yew Yon Xiang Ivan
2nd Author Asst Prof Ina Conradi Chavez

23.07.2013
URECA Yearbook 2012 7th Proceedings of the URECA @ NTU 2011-12
Project ID ADM11029
Paper Title “Uncontainable”- Exploring Fluid and Dynamics Simulation for Creating New Media Digital Arts
1st Author Yew Yon Xiang Ivan
2nd Author Asst Prof Ina Conradi Chavez
Pages ADM 1647-1652 Reg. No. 20060 4393R

07.04.2012
URECA Yearbook 2011, 6th Proceedings of URECA@NTU AY 2010/11,
Project ID: ADM10029
Paper Title “Stereo Painting: Towards new aesthetics in painting today“,
1st Author Yew Yong Xiang Ivan,
2nd Author Conradi, I (Asst Prof);
Pages ADM 1819-1824,
Reg. No. 20060 4393R


07.04.2012
URECA Yearbook 2011 6th Proceedings of URECA@NTU AY 2010/11,
Project ID: ADM10031,
Paper Title “Space Constellations Part 1, Towards New pictorial space series
1st Author Zurianah Bte Hashim,
2nd Author Ina Conradi (Asst Prof);
Pages ADM 1825-1829
Reg. No. 20060 4393R

07.04.2012
URECA Yearbook 2011, 6th Proceedings of URECA@NTU AY 2010/11
Project ID: ADM10057,
Paper Title “Space Constellation Part 2. Digital Fabrication
1st Author Farhana Ja’afar,
2nd Author Ina Conradi (Asst Prof)
Co-Supervisor Peer M. Sathikh, (Asst Prof)
Pages ADM 1759-1764
Reg. No. 20060 4393R

10.07.2011
URECA 2010 5th Proceedings of URECA@NTU AY 2009/10,
Project ID: ADM09036 AY 2009/10
Paper Title: “Reassessment of Painting: Fine Art Painting and Experimental Computer Animation”,
1st Author Khoo Yi Hui,
2nd Author Conradi Ina,
5th Proceedings of the URECA@NTU 2009-2010,
Page 1484-1489, CD containing Research Papers
Reg. No. 20060 4393R


Book – Stereo Pictorial Space

30.09.2012 Title: “3D Stereo Pictorial Spaces: Towards New Aesthetic in Contemporary Painting”, Author Ina Conradi, Editor Jayapriya Vasudevan, Singapore ISBN: 978-981-07-2246-3, Ref No.H201205030018, pages 180, 2012-09-30 Self Published book on results from AcRF Tier 1 research 2012.

Book – Internal External

10.02.2010 Title: “Internal External”, Author I. Conradi, Editor Jayapriya Vasudevan, Singapore, ISBN 978-981-08-5116-3, pages 140, 2010-10-02. Self-Published book on results from AcRF Tier 1 research.

Ars Electronica Deep Space-Le Phénomène Atmosphérique & Dreams

  • Date: 31. 08-6.09.2011
  • Ars Electronica Festival 2011:
  • Event : Deep Space Live: Dreams/Le Phénomène Atmosphérique,
  • Co-PI: Dr. Xiao Wei SUN, EEE/, NTU
  • Place : Ars Electronica Linz Austria
  • Research Project: IMI Seed Grant

About the Festival

Since1979, Ars Electronica is an internationally unique platform for digital art and media culture. It is the most important festival of digital art world wide. The festival is conducted under a different motto each year. Ars Electronica 2011 was titled “Origin, How it all begins” and was organized in cooperation with CERN, Europe. about 550 journalists and bloggers report from the Ars Electronica venue. Key contributors to the festival’s incomparable spirit are the approximately 35,000 annual visitors. Screening of two stereoscopic 3D stereo animated films, Dreams 4:37 and Le Phénomène Atmosphérique 4:00 min. Films needed to be adapted and re-rendered for Stereoscopic 3D immersive 8 Channel Video Projection Deep Space platforms. It is designed for 3D applications at high resolution in 3 dimensions. A total of eight 1080p HD and Active Stereo-capable Barco Galaxy NH12 projectors and 16×9-meter images displayed on the Deep Space’s wall and floor.

 About the Institute for Media Innovation

IMI strives to be an incubator of multidisciplinary cutting edge media related research ideas and establish Singapore as a key player at the forefront of the global interactive digital media revolution. One of the goals of IMI is to forge strong interdisciplinary partnerships amongst other global players thereby bridging the academia and industry through technology transfers and spin-offs.

Link to Film Web Site:

http://www.lephenomeneatmospherique.com

3D Stereo Animated Pictorial Space: Towards New Aesthetics in Contemporary Painting

  • Date/Period: 1.3.2011-28.12.2014
  • Project : Academic Research Fund (AcRF) Tier 1 Singapore Ministry of Education (MOE) RG 55/10
  • PI: Ina Conradi Chavez (Asst Prof)
  • Co-Pi: Dr. Xiao Wei SUN, EEE/ NTU
  • Film Web Site: http://www.elysianfieldsfilm.com/
  • Awards: 14 International Awards

About

How can artist influence new technological initiatives and push the expressive capabilities of 3D Stereoscopy towards a new pictorial space? How can we create fully immersive 3D stereo painting where large scale moving paint marks and textures would appear to exist in real space? Should painting expand the aesthetic experience by opening to new methods, other disciplines and to a different audience? The art practice-led project explored the use of 3D stereo for painting, video and digital art. Creative output resulted in 3D stereoscopic animated films for cinema, installation and for stereoscopic immersive visualization venues, such as 320° degree curved NTU IMI Immersive Room and Deep Space Ars Electronica. The project was platform for quality training for ADM graduates in areas such as commercially produced digital art, 3D stereoscopic animated movies, and visual effects. Resulting 2013 “Elysian Fields”, short animated stereo 3d film was competing and screened at the 86th Academy Awards Animated Short Film Competition Screening known as the OSCARS.

Stereo Anaglyph tests Animation by Joshua Tan and Khoo Yi Hui, Stereo Animation/Auto Desk Maya/ Next Limit Real Flow

 

Reassessment of Painting

  • Project ID: ADM09036
  • URECA Project Category: 1
  • Title: Fine Art Painting and Experimental Computer Animation
  • Student: Khoo Yi Hui
  • Supervisor: Conradi, I. (Asst Prof)
  • Academic Year: 2009/10

Abstract – Much can be learnt from the masters of abstract fine-art painting who managed to inject life and emotions in their non-representation works. Abstract art is often not as easily accepted by the public as representation art because one might feel that he is unable to identify what he is seeing. However, the point of abstract art is not for the viewer to understand, but to experience it. Abstract Painters of the 20th Century such as the Abstract Expressionists excelled in the creation of dynamic paintings that actively engage and draw the viewer into the work. Reassessment of Painting explores the potential of injecting qualities of these abstract fine-art paintings into computer animation that can sometimes be too mechanical and detached. Through creative use of current industry standard software (Autodesk Maya, Next Limit RealFlow and Adobe After Effects), a personal style of experimental animation is developed that aims to provide the viewer with a new aesthetic experience that is immersive and imaginative. Keywords – aesthetic experience; painterly abstraction; Maya; RealFlow.

2009-10_reasses.painting_posterLR

Stereo Painting

  • Project ID: ADM10029M
  • URECA Project Category: 1
  • Title: Stereo Painting: Towards new aesthetics in painting today
  • Student: Yeo Yong Xiang Ivan
  • Supervisor: Conradi, I. (Asst Prof)
  • Academic Year: 2010/11

With the emergence of new 3D hardware and software technologies, traditional and digital painting methodologies can be redefined to provide new ways of perceiving abstract painting in 3D space. The aim of this research targets at the exploration into inventive applications of 3D Stereoscopy as an art digital media tool, through the uncustomary use of industry standard softwares like NextLimit RealFlow and Autodesk Maya. This project draws inspiration from the idea of pushing the limits of perceptibility and exploring new aesthetics possibilities in contemporary paintings and art practices, specifically to deliver artistically beautiful contents which are further developed into a stereoscopic piece of experimental animation or a still art print.

201-0-11_stereo-painting-poster

Space Constellations Part II

  • Project ID: ADM10031
  • URECA Project Category: 1
  • Title: Space Constellations II, Towards New pictorial space series
  • Student: Zurianah Bte Hashim
  • Supervisor: Conradi, I. (Asst Prof)
  • Academic Year: 2010/11

This research determines a subjective methodological approach into pushing current investigations of unconventional animation by utilising ready-made presets and brushes in computer to form contemporary ways of image-making techniques. Initial research focuses on how traditional ways of producing 2D pictures, i.e. drawing, painting, and printmaking can be fused with 3D images generated from computer graphics software, Autodesk Maya.In the process of assembling this set of uniquely-blended images, new pictorial spaces are invented – spaces that are capable of dissolving their own perimeter and traditional surface planes. In the second half of the project, the research would move from abstract-referencing art into experiential phenomenological art work to create immersive art installation pieces.

2010-11-space-constallations-II-poster

Space Constellations: Digital Fabrication

  • Project ID: ADM10057
  • URECA Project Category: 1
  • Title: Space Constellations: Digital Fabrication
  • Student: Farhana Ja’afar
  • Supervisor: Conradi, I. (Asst Prof)
  • Co-Supervisor : Peer M. Sathikh, (Asst Prof)
  • Academic Year: 2010/11

How can one translate animation or computer rendered digital painting into physical space? A focus of this project was on examining new potentials for ornamentation using digital fabrication methods. Based on recently completed short experimental animated movie, the aim was to generate physical output mimicking animated dynamics and moving images. Out of existing renders and based on available means of physical production, introductory methodologies were delivered to translate abstract shapes from an animated sequence into simple building blocks for 2D and 3D print.

 

2010-11-space-constallations-posterHR

Uncontainable

  • Project ID: ADM11029
  • URECA Project Category: 1
  • Title: Uncontainable
  • Student: Yeo Yong Xiang Ivan
  • Supervisor: Conradi, I. (Asst Prof)
  • Academic Year: 2011/12

“Uncontainable” – Exploring fluid and dynamics simulation for creating New Media Digital Arts

Abstract

Autonomous and independent expressions of new digital tools and painterly tactics will be used for the production of wide range visuals across the multiple media. The project will focus on exploring fluid and dynamics simulation for 3D visual effects and 2D digital print on various substrates, merging fields of animation, painting and rapid prototype.

Methodology

The shift from abstract treatment and usage of fluids towards a more focused and specific purpose requires a greater control over the particles and meshes generated. This can be achieved via the use of two major daemons in the software, NextLimit RealFlow­­- Morph daemon and Magic daemon. The Morph daemon determines how the particles will approach the 3-dimensional object, while the Magic daemon works in conjunction by attracting and retaining the particles to the object’s shape. Through keyframing technique, multiple objects can be transformed and transited, while an addition of a Noise Field daemon and a DSpline tool within the simulation helps to create a more natural transformation in between. To further enhance the realism of the fluid outlook, an object emitter is used to create a dripping effect by which selected faces of the polygonal object will emit fluid particles at the desired keyframes. These meshes generated are subsequently tested with various material textures to achieve a spectrum of surrealistic imagery. The goal is to use the process of flowing fluids for creating surreal cinematic experiences.

2010-11-uncontainable-poster

“Discover URECA@NTU Poster Exhibition & Competition 2012”, Nanyang Technological University, Singapore, 10. March. 2012

Painting Using Experimental Animation

  • Project ID: ADM08044
  • URECA Project Category: 1
  • Title: Painting Using Experimental Animation
  • Student: Khoo Yi Hui
  • Supervisor: Conradi, I. (Asst Prof)
  • Academic Year: 2008/09

Abstract – Digital technologies have played an increasingly important role in explorations of new image-making methodologies in this multimedia age. Amidst the growing popularity of computer generated images, the traditional medium has however, remained a strong and undying art form because the tactile quality of paint materials cannot easily replaced. The use of computers in artistic creation can often create a barrier between the artist and the digital canvas, such that the resulting art piece loses the personal touch of the creator and becomes seemingly ‘emotionless’. The purpose of this paper is to introduce a new form of experimental animation that seeks to inject qualities of fine art painting into abstract computer animation through creative use of current industry standard software – Autodesk Maya and Next Limit RealFlow. The goal is to create moving pictures of a painterly abstraction that can be pushed further to produce aesthetically engaging and immersive experiences.  Keywords – abstract art; painterly; Maya; RealFlow.

2008-09-painting-using-anim.poster(2)

Digital Imaging Singapore

  • Project ID: ADM08005
  • URECA Project Category: 1
  • Title: Digital Imaging in Singapore
  • Student: Tan Cheng Quan
  • Supervisor: Conradi, I. (Asst Prof)
  • Academic Year: 2008/09

Contemporary painting is not taking advantage of integrating traditional painting methods and art materials with available visual effects industry software and digital devices to create high impact artwork. Usually outcome of digital artwork is a dull digital print that lacks physical presence. Implementing the latest technologies in image creation this research project will attempt to document emotive spaces and impressions of Singapore to build illusions of three-dimensional creative vision; moving forward to using this imagery as a resource for more creative work that will comprised of an exploration of manipulated surfaces and mixed media structures in site specific settings. It is Part of larger Tier 1 project.

Poster

EEG

  • :

EEG-based immersion and 3D interaction

EEG-based immersion and 3D interaction is a new direction in R&D on human computer interfaces. R&D of novel tools of brain state quantification that would be integrated in IMI Triple I System (Interaction, Immersion & Innovation).Co-Pi with PI Olga Sourina (Asst Prof), EEE/Division of Information Engineering NTU.

The following animations are to become a mirror for the viewer; colors and shapes are to be triggered by various states of mind.

Emanation

Cerulean Shatter

Kaleidoscopic Chroma

Link to project website: http://imi.ntu.edu.sg/IMIResearch/projects/Pages/EEG.aspx

Summary By Miss. Olga Sourina Asst Professor, School of EEE: EEG-based immersion and 3D interaction is a new direction in R&D on human computer interfaces. It has attracted recently more attention from the research community and industry as wireless EEG reading devices became easily available on the market. EEG-based technology has been applied in anaesthesiology, psychology, etc. In this project, we propose R&D of novel tools of brain state quantification that could be integrated in IMI Triple I System (Interaction, Immersion & Innovation) and used in e-learning, art and medical applications. As EEG signal is considered to have a fractal nature, we propose and develop a novel spatio-temporal fractal based algorithms of brain state quantification. The algorithms are implemented with blobby visualization tools for EEG analysis and are integrated in EEG-based “serious” games. The “serious” games will be proposed for e-learning and medical applications including the games based on concentration/attention recognition for e-learning and Attention Deficit Disorder (ADD) therapy and pain management games. Such games could be used by the user/patient even at home convenience. In the case of pain management or ADD it could be used as an alternative to traditional drug treatment.

For entire proposal please see pdf proposal by Prof Sourina “EEG-based Immersion and 3D Interaction: E-learning, Art, and Medical Application.”

Download the document: OS-IMI Research

Projects/Research Awarded

I have written total of 14 research proposals for new media arts from November 2007 till May 2012, out of which 6 projects were awarded, 7 research proposals were rejected. I have applied two times in the status of main PI for competitive MOE AcRF Tier 2 funding.

While 2009 Tier 2 titled “From Canvas to Screen: Stereoscopic 3D and new aesthetic in painting today,” did not pass the NTU level of evaluations, I have learned a lot. Seminar Titled How to write a good Grant Proposal, by Professor Bengt Nordén, Chairman of the NTU Research Council helped me to rewrite the rejected Tier 2 into awarded Tier 1 (MOE), Project Title: “3D Stereo Animated Pictorial Space: Towards New Aesthetics in Contemporary Painting”. I have also took part as Co-Pi on cluster for a large Tier 3 proposal. Screen based arts cluster project titled: “Immersion Art Experience: Planetarium,” would explore 3D stereo content with significantly increased immersion experience for ambient audio and visual immersive space of planetarium. Currently proposing Tier one in the same field.

Academic Year Grants Awarded PI / Co-Pi Amount Awarded
01/01/2008- 28/2/2010 MOE (AcRF) Tier 1 RG105/10 Digital Imaging in Singapore: The Integration of Digital Imagery with Traditional Art Media and Techniques for Site Specific Architectural, Urban and Landscape Settings of Singapore [1] PI 100% 50,596.00(M52090000) Dreams
2009/11 MOE (AcRF) Tier 1“Exploring kinetoaudiovisual parameter mapping strategies for virtual instrument performance and interactive installation”
PI Per Magnus Lindborg
Co-PI 10% 50,000.00 NIL
01/10/201030/11/2011 IMI Seed Grant, M4080629.B40“Stereo Pictorial Spaces”
Dr Xiao Wei Sun, EEE (Assoc Prof)
PI 100%Co-Pi
5%
10,000.00
(M4080629.B40)
NIL
01/10/2010 30/11/2011 IMI Seed Grant EEG-based Immersion and 3D Interaction PI Olga Sourina (Asst Prof) Co-Pi 10% 50,000.00 NIL
15/8/2011-14/8/2012  IMI Seed Grant, M4080760.B40 “Unframed”Dr Xiao Wei Sun, EEE PI 100% 50,000.00
(M4080760.B4)
Elysian Fields
31/12/201231-12/2013extension IMI Seed Grant, M4080760.B40
“Unframed, Part 2″extension
PI 100% 28,000,00 Elysian Fields
1/3/201128/12/2014 MOE AcRF Tier 1 RG 55/10(M52090031)“3D Stereo Animated Pictorial Space: Towards New Aesthetics in Contemporary Painting” PI 100% RG 55/10(M52090031)149,992.80  Total 13
TOTAL S$ 388.588.8 SGD

[1] Please see the hard copy publication “Internal External” illustrating works done within this grant

1991-1993

  • Japan Foundation Fellowship Program Grant Awarded, Kyoto, Japan
  • Tokyo University of the Arts, Kyoto Seika University

Table below summarizes proposal writing activities and how many grants I have written, applied to and received, and how many proposals were rejected from 2005- till 2012.

Academic Year Grants Awarded Grants Pending Rejected TOTAL
Fall 2007-2008 1 0 0 1
2008-2009 0 0 2 2
2009-2010 0 0 2 2
2010-2011 2 0 3 5
2011-2012 2 0 0 2
Fall 2012-2013 1 0 1 2
6 0 8 14

Rejected Proposals

  1. 9/06/2012
    The Proposal1/2013 Academic Research Fund Tier 2 titled: ASIA IN TRANSITIzON: Cinematic Authorship And The Phenomena Of Simulated Presence” (MOE2012-T2-2-056)was shortlisted by NTU for OLGA MOE application system in September 2012. It was the only Tier 2 submitted from ADM that year. In the process I have established invaluable relationships with international researchers, experts in the field of fulldome digital theatre projections, such as Director, iVEC@UWA Faculty of Engineering, Computing and Mathematics University of Western Australia, Paul Bourke, Director Founder of XRez Studio Los Angeles, Digital Dome Director & Faculty Institute of American Indian Arts: College of Contemporary Native & Indian Arts, Ethan Bach, Greg Downing, Director Feature Film division Rhythm & Hues Studio’s Los Angeles, Arthur Jeppe, Director, Hiatt Center for Urban Education Clark University Worcester, Katerine Bielaczyc. Partnering with PCCW Solutions Hong Kong Space Museum Wong Kai Ming.Part of the team is also well known, Magnum photographer Mr Steve Mc Curry.
  2. 26/10/2011
    2012 Call Academic Research Fund (AcRF) Tier 3 Grant Call, Project Title: “Call Re-imagining Visual Arts Practices”, proposed by Assoc Prof Oh Soon-Hwa. Abstract: New Technologies and Visual Art research practices and their impact on aesthetics, creativity, culture, economy, higher education and technology. The Visual Knowledge Group will be organized in four focused clusters: Future of aesthetics, Screen Based Arts, Hypermedia arts, and Visual research in Art and Design Cluster.
    Screen Based Arts Project Titled:
    “Immersion Art Experience: Planetarium,” PI Ina Conradi Chavez, (Asst Prof) ADM, NTU Collaborator Paul Bourke, Research (Associate Professor) Director, iVEC @ University of Western Australia.
    Abstract: To offer detailed explorations on the quality of immersion emerging from artistic–research experiences for animated 3D stereo content with significantly increased immersion experience for ambient audio and visual immersive space of planetarium.
  3. 30/09/2011
    2011 Academic Research Fund (AcRF) Tier 0 Grant Call
    Project Title:” Material Immaterial” PI Ina Conradi Chavez, (Asst Prof) ADM, NTU; Abstract: A focus of this project is on examining new creative potentials for image ornamentation, made possible by recent advances in digital fabrication techniques. The aim is to explore the preliminary methods and introduce design processes used in 2D and 3D design to calibrate digital designs with physical form.
  4. 14/4/2011
    2011 SMART Innovation Centre Grant Call
    Project Title: “Developing and Integrated Performing Instrument for Creating Visual Music”, PI Kirti Kumar Trivedi (Visiting Professor), Co-Pi Mark Chavez (Asst Prof), Ina Conradi (Asst Prof); Abstract: It is proposed to develop a new digital performing instrument allowing the performer to generate spontaneously visual and musical output simultaneously, according to creative and artistic intent to provide an immersive visual and musical experience through ultra large projections of dynamic imagery in the performing space.
  5. 22-/11/2010
    2010 Academic Research Fund Grant (AcRF) TIER 0 Grant Call
    Project Title: “Art of Animation at the Edges of Materiality,” PI Ina Conradi Chavez (Asst Prof) Abstract:Recently established collaboration between IMI Asst Professor, Olga Sourina NTU, and School of EEE has opened up a field of R&D on human computer interface based on (EEG) technology and new emotive based digital animation experiences, which would be pursued for developing 3D interactive and immersive art works and animation.
  6. 09/08/2010
    2010 New Silk Road Grant Call
    Project Title: Intertwined Boundaries,” PI Ina Conradi (Asst Prof), Co-PI Peter Chen Chia Mien (Asst Prof) Abstract:The proposed art practice based research delves into developing proposals for art installations and site specific fabricated art installations. Creating unexpected meeting grounds with science, art and architecture in public space and creating fabricated art installations that are architecturally-integrated, digitally-hand-crafted, lightly-weighty was introduced.
  7. 20/2/2009
    2009 Academic Research Fund Grant (AcRF) Tier 2 Grant Call, Project Title:  “From Canvas to Screen: Stereoscopic 3D and new aesthetic in painting today,” PI Ina Conradi (Asst Prof); Abstract: Stereoscopy 3D inspired research and is continuation of the ongoing reflection on immersive and innovative image making methodologies.
  8. 09/2009
    2009 IMI Art and Technology Grant Call, Project Title: “Synthesis of the real and virtual Image, Installation Art: Experiments with 3-D stereoscopic technology, Space, Sound and Motion“, PI Ina Conradi (Asst Prof); Abstract:Drawing on the ideas of recent technological initiatives in 3D stereo, avant-garde film-making and sound cultures, the work will to explore principles and methodologies of 3-D technology.

Research Output

Download the document here.


Research Performance Indicators

  • Awards: The award s are result of joint efforts and shared resources of ADM 3D stereo Lab, supported by IMI Seed Grant, M4080760.B40 Immersive 3D stereo works on
  1. 28.04.2014 Audience Choice Award Animation
    Awarding Authority: The 14th Annual International Beverly Hills Film Festival (BHFF) Award’s Impact and Recognition: “Elysian Fields” won in category of Animation. Among films such as  Oscar-winner Thomas Stellmach’s and Maja Oschmann’s “Virtuos Virtuell”
  2. *05.10.2013 Best Short 3D Festival Beyond
    Awarding Authority: The Center for Art and Media (ZKM) Karlsruhe, Germany
    Award’s Impact and Recognition: “Elysian Fields” won over Total of 46 international stereoscopic only films in competition for the Beyond Prizes in the fields of Game, Short Film and documentation.[1]
  3. *23.09.2013 Best Animated 3D Short Film
    Awarding Authority: 3D Film Festival 2013/6th Annual, USA
    Award’s Impact and Recognition: The World’s First and Largest all Digital 3D stereoscopic Film, Music & Interactive Festival, supported by RealD, DLPand NVIDIA, Warner Brothers, IFC, Sony Pictures Imageworks, Dreamworks Animation, 3D Academy of Stereoscopic Arts & Sciences, International 3D Society & Advanced Imaging Society, World 3D Film Expo III and Hollywood Chamber of Commerce.
  4. 23.09.2013 Best Animated Short
    Awarding Authority: Phenom Film Festival, USA
    Award’s Impact and Recognition: 253 submissions,140 films, 29 countries represented, 17 categories up for awards, including Best Animated Short. Selected were 13 animated shorts
  5. *15.09.2013 Best Animated Film
    Awarding Authority: The Oregon Independent Film Festival, USA
    Award’s Impact and Recognition: OIFF is one of the biggest documentary screening programs in the northwest USA. 2013 OIFF programmed over 60 films from 14 countries
  6. *15.09.2013 Best Experimental/Art Film
    Awarding Authority: The Oregon Independent Film Festival
  7. *03.09.2013 Best International Short
    Awarding Authority: 2013 CGIF Awards, Columbia Gorge International Film Festival, USA
    Award’s Impact and Recognition: 3000 submissions. 2013 accepted were total of 280 films, and given were approximately 30 awards in various categories (short, feature, animation.)
  8. *22.08.2013 3D Short Runner Up Awarding Authority
    Awarding Authority: The 9th Annual HollyShorts Film Festival, USA Award’s Impact and Recognition: 1500 submitted films; final competition of 350 finals
    Additional Recognition: Elysian Fields has been selected as one of the top 15 films to be considered for the VFX Award by Method Studios.[2]
  9. 13.07.2013 Best Animation
    Awarding Authority: Intendence Film Festival, USA
    Award’s Impact and Recognition: submitted 150 films from around the world (over half from outside the U.S.) Selected 60 films, total of 20 Awards was given by Jury (3 in the animation category). The awards in the animation category were: Best Animation, Best Exchange Film and Best Colorado (local) Animation
  10. *12.06.2013 3D Innovation
    Award Awarding Authority: The 4th Annual New Media Film Festival, USA
    Award’s Impact and Recognition The New Media Film Festival 3D Innovation Award, in category with 84 films from 17 countries for which International judges were from FOX, Pixar, The Caucus, Grammy Awards, Gemini Awards and other Industry Leaders.
  11. 5.05.2013 Award of Excellence Animation Awarding Authority: The Los Angeles Movie Awards, USA
    Award’s Impact and Recognition Films are assessed by multiple award winning producers, directors, actors and writers. Awards have been given out among the 9 categories
  12. 27.04.2013 Winner 1st Place Animation 2013
    Awarding Authority: 5th Los Angeles Art-House Film Festival, USA
  13. 15.04.2013 Award of Merit: Animation
    Awarding Authority: Best Shorts Competition, USA Date awarded
    Award’s Impact and Recognition: Best Shorts promotes the award winners through press releases to over 38,000 filmmakers, industry contacts and media/distribution outlets. [3]
  14. 5.04.2013 2013 Rising Star Award Winner Awarding Authority: Canada International Film Festival, USA
    Award’s Impact and Recognition 10 awards given in total for Animation Competition
  15. 24.10.2008 Prize of Effort for the Singapore Regional Award of the “10th DigiCon6” Computer Graphic Animation Competition, Media Development Authority Singapore and TBS, Tokyo Broadcasting System, INC. Digicon 10 Singapore
[1] Please find more details of awards from Appendix Research under section on Awards
[2] Previous 2012 award was given to film “Pina” directed by Oscar-nominated German film maker Wim Wenders, the president of the European Film Academy in Berlin
[3] Method Studios Hollywood, award-winning international visual effects (VFX) group with films including “Cloud Atlas”, “Argo”. Jurors included veterans in the effects industry Charles Abou Aad, (“I, Robot” through “Transformers”,”Super 8”) and Jason Schugardt, (“The Curious Case of Benjamin Button”, “The Wolverine”, etc.)
[4] Best Shorts Competition Winners include film such as Directors Laurent Witz and Alexandre Espigares which won the Academy Award for Mr Hublot 2014
 

Past Awards (Prior to 2007)

1989 Research Grant UCLA, Los Angeles
1988 Anderson Graduate and Post-Doctoral Award, UCLA, Los Angeles
1988 Art Council, Jack B. Carter Merit Award, UCLA, Los Angeles
1988 Tuition Fellowship UCLA, Los Angeles
1987 Eugene Wurcel Scholarship UCLA
1987 University Research Grant UCLA
1985 City of Belgrade October Award

Media Mentions

  • Citation: Others /Media Mention Press/Web etc.

Summary of Citations Media Mention Press/Web

Academic Year International Local Total
2007-2008 0 1 1
2008-2009 2 3 5
2009-2010 0 3 3
2010-2011 7 3 10
2011-2012 6 26 32
2012-2013 16 6 22
2013-2014 27 3 30
Total 58 45 103

Websites and Blogs

International

Local

International

Local

International

  • Galeria/Gallery, “O Fenomeno Atmosferico”, Um filme Sobre Fenomenos…”, page 168, Anima Mundi 2012 Catalogue, Ministerio da Cultura Brazil(website)
  • Niche.LA Video Art, (website)
  • Catalogue 3D WIRE 2012 Animation, Video Games and New Media International Market, Stereoscopic International Short Film, page 124, Segovia Town Council, 10-14 October 2012 www.3Dwireless/mercado3dwireless (website)
  • Deep Space Live Exh, ADM, Research, Exhibitions, Screenings, 19 Sep 2011
  • Deep Space Live 31.08.2011, Ars Electronica 2011,Origin Ars Electronica C Hauptprogramm 2011_KERN.pdf(website)
  • App Trap, 30 November 2011, it’s a shiny, shiny world(website)

Local

International

Local

Local

  • Internal External Installation is shown as promo for U channel episode highlighting the various facets of Singapore’s wide-ranging art and media industry, such as the film, broadcast, advertising, animation and gaming industry, April/May 2009(website)
  • Images of Post Museum”, http://www.post-museum.org/images.html 02/-05/2009
  • Singapore Art Gallery Guide, Internal External New works by Ina Conradi at the Post Museum, 2009(website)

International

  • PIXELPOPS! 2008 Collaborative Advanced Navigation Virtual Art Studio, Krannert Art Museum at the University of Illinois at Urbana-Champaign, University of Illinois 04/11/2008
  • Digital Fringe-The Age Melbourne Fringe Festival,” Film Victoria, Creative Commons, 30/09-12 /10/2008 (website)
  • Online Digital Art Gallery D-ART 2008 for the 12th International Conference Information Visualisation iV 08, South Bank University London, England 08/07-11 /07/2008 (website)

Local

  • Digital Imaging in Singapore, Research Highlights NTU Research Report 2008, pg 56
  • “Art Profile Ina Conradi”, Motion Elements Web Site an online platform post-production houses, 2D/3D animators, motion graphics designers and creative in the media industry, 16/12/2008 (website)

Local

  • 12th Anniversary Discovery Tour Press Release” press@arroyoartscollective, 2004 (website)
  • “Putting Byte in their creativity”, Shirle Gottlieb, U_Press Telegram, Friday 13/08/2004 http://vis.cs.brown.edu/docs/pdf/Gottlieb-2004-PBC.pdf.(website)
  • Oral history interview with James Bassler, 2002 Feb. 11-June 6, Archives of American Art, Smithsonian Institution. http://www.aaa.si.edu/collections/interviews/oral-history-interview-james-bassler-11858 .(website)
  • “Toasting Slovenia on seven independent years” Mark Ryavec, “Prosveta”, Los

Stereo Pictorial Spaces

  • Date: 1.10.2010. - 30.11.2011
  • Funding Body: Institute for Media Innovation, Seed Grant M4080629.B40
  • PI: Ina Conradi
  • Co-PI: Dr. Xiao Wei SUN, EEE/, NTU
  • :
  • :
  • :

 

About

Project establishes pipeline, 3d stereo testing and pre-production for 3D Stereo animated content. The project involved experiments with light, optical and abstract experimental animation. Generated was the first animated 3d stereo content in ADM and learning process started for better understanding of the newly installed 320˚degree Immersive Room at the Institute for Media Innovation. NTU Singapore. The IMI Seed Grant to follow titled “Unframed” expedited the process and allowed works to be completed for Ars Electronica Festival 2011 Deep Space venue and one of the most prestigious festivals for the New Media Digital Art in the world. The film plays with optical effects and fluids.

Visit the film website: http://www.lephenomeneatmospherique.com

Research Statement

How can artists and film makers today create memorable digital experiences, an animated “artistic canvas” with art content that would work for advanced display technologies – from large scale immersive cinematic spaces such as planetariums to urban walls for community generated content? How can creative content remain unique and step ahead of the technology that enables it? Can the new media artists move the focus from the challenge of how to use new media technology to the challenge of how to create timeless quality experiences that involve the viewer as an active participant?

The broad objective of my research is to conduct an interdisciplinary exploration of the new aesthetic possibilities in contemporary art practice such as digital painting, stereoscopic 3D animation and new media technology for novel immersive environments and art exhibitions. The outcomes of the projects are creation of the original artistic content in collaboration of film makers, animators, educators, researchers and scientists.

The areas of my interest are: Digital Painting, 3D Computer Animation, Installation Art, Immersive Visualization displays and Public Art.

More

Teaching

Pattern – Portfolio Reel

Fossus

 Pattern Showreel

Supernatural

 

More

2D – Portfolio Reel

Cosmic Latte – A Rhythm in White

 

Lost and Found 2D Foundation Class

Kami

Inspired by Crease Patterns and Origami Patterns after Robert J. Lang
http://www.langorigami.com/art/creasepatterns/creasepatterns.php

Tessarect

Paradise Lost

Peekaboo

On Vim and Vigour

Rinesfluids

Posters – Pattern, Art, Design and Architecture

Posters – Pattern, Art, Design and Architecture

Overview Dossier dv2011

  • Teaching History: Courses Taught: DV2011 Pattern Art. Art, Design and Architecture

Pattern Swatch Books

Pattern Swatch Books

Student Portfolios – 2D

Phyllicia Wang

Portfolio

Tan Wen Hui Charlene

Portfolio

Weilun

Color Study

Xandra

Journal

Klim

Portfolio

Phyllicia Wang

Color Study

NG Xiao Yan

Color Study

Gilian

Color Study

Nico Tan Yong Ling

Color Study

Justin Tan & Cheng Shian Wen

Journal – Tactile Color

Yi Hui

Journal – Tactile Color

Sim Boon Long

Color Study

Kelson

Color Study

Zhao Wenwen

Color Study

Jialiang, Yuxian & Aaron

Color Study

Student Assessment

LASALLE College of the Arts 2005-2007

Pattern, Art, Design and Architecture- class web site

2D II- Foundation Programme Studies

2D I

Teaching Addendum Prior to 2007

2D Design and Color

Students’ Feedback On Teaching

Teaching Statement

My teaching goal is to foster creativity through individual and collaborative learning experiences for interdisciplinary art, design and media projects.

Creative Excellence: My primary role is to create opportunities, and environments that foster individually constructivist learning experiences, and collaborative student learning. My goal in teaching is to establish a balance between the required role of the teacher to guide, and the student to freely and actively customize the norms and standards that define their own creative expression.

 Fine Art Studio Practice, Interdisciplinary Experimentation and Research: In teaching Foundation Disciplines, I believe that art studio practice summons up a timeless value of traditional media and object-based art as relevant to contemporary issues in art and design. Trust is put into uninhibited experimentation in a variety of processes and exploration of materials bringing students individually to the expression, performance and actualization of their design and intention. In addition my teaching programme blends complex new media disciplines, research, and theoretical discussion in a productive exchange of ideas.

 Successful Project: The best indicators for good teaching are the completion of a successful project, where the process is as equal as the outcome. A project is successful if students talk about it, if it triggers expectations and excitement from students and faculty. My colour theory projects are becoming legendary among students. My pattern class recently promoted learning collaboration with NTU Museum’s Public Art Initiative in completing large scale Public art Installation at the NTU Pavilion at Tan Chin Tuan Lecture Theatre.

Cultural and Social Impact: My goal is to promote cooperation and collaboration with industry and real projects that could be taken to market.  Students partner with local and international institutions such as example of 2nd year student Afiq Omar’s media art project (Pattern, Art, Design & Architecture). The work was selected for display in Times Square New York by CEMUSA, Digital Video network leading international outdoor advertising company, and had been estimated seen by 1.5 million viewers per day in New York City Times Square. My students are recipients of famous Crowbar Awards, shortlisted for NTU’s Koh Boon Hwee Lee Award, for Hsien Loong Outstanding All-Round Achievement Award, finalists for the NTU’s Institute of Materials (East Asia) Gold Medal Award, admitted to international Master Of Fine Arts programmes such as Rhode Island School of Design, (RISD) and Goldsmiths, University of London, interviewed by Yale University MFA programme. The students that joined my research as BFA Graduates started their VFX companies and business successfully as the works done during the research spent brought them international attention and professional success.

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