The 5th of February marks the exciting opening of the Shapeshifters Exhibition at the Western Plains Cultural Centre by the Australian Design Centre who are promoting artists and designers who are using 3D Printing and CAD as their medium. Following are some of the Australian Artists and Designers who are featuring in this amazing exhibition. Modfab will be training teachers with their BOSTES Accredited Course for 3D Printing & CAD at each location.
Ryan Pennings, Percy Stools, 2015, Polylactic Acid (PLA).
Ryan’s work explores the exciting design opportunities where algorithmic design meets robotic fabrication. As an emerging designer, he tests how algorithmic design can be applied to conventional products. He demonstrates that custom printing furniture for our own homes could be a reality in the near (very near) future.
Each stool has its very own algorithm and is printed with a robotic arm. The exterior shape of the chair is highly controlled by strict algorithmic rules, whilst the unique shapes of the internal supporting structure are allowed more freedom.
XYZ Workshop (Kae Woei Lim and Elena Low), inBloom, 2014, Polylactic Acid (PLA).
The open-source files of the dress are free to download, encouraging people to ‘hack’ the dress and make it their own. In 2014, inBloom made it into the White House for Reach Higher’s Fashion Education Workshop organised by Michelle Obama (fashion heavyweights like Anna Wintour attended)! Remarkable stuff, given that XYZ Workshop was born only one year prior when architects Lima and Low became interested in desktop manufacturing. In the same way they approached architecture – by merging art, sculpture and technology, the pair were intrigued by the potential of 3D printing.
Lukasz Karluk, HoloDecks, 2014, Polylactic Acid (PLA).
Could 3D printing change the way we experience sound? HoloDecks adds another dimension to listening by offering an interactive visual experience.
Holodecks focus on transforming sound through different mediums. Lukasz uses software to transform sound into 3D printed sculptures.
Using a computer generated code, each sculpture is a representation of audio from a selected song. An augmented reality app tracks the rotating sculpture and overlays a virtual 3D model, giving the effect of an audio reactive sculpture. Got it?
Lukasz is playful – he flirts with the real and the virtual at the same time. His work is all about discovery. His interaction design company, Code on Canvas, have produced installations and generative computer art for Sydney Festival, Vivid Light and Australian Fashion Week. They think outside the box.
HoloDecks Swirls, 2014 features Still Life (2013) by Oneohtrix Point Never
HoloDecks Peaks, 2014 features Problem Areas (2013) by Oneohtrix Point Never
HoloDecks Tubes, 2014 features Zebra (2013) by Oneohtrix Point Never
Lousje Skala, Calgary Necklaces and Link Bracelets, 2015, 3D printed nylon, hand -dyed, CNC milled, vacuum metalized chrome
Lousje is fascinated with language, social disconnection, and the negative social impact of digital media. So, it is her intention that when people wear her bold jewellery, the pieces encourage (really real) social connections. This series draws inspiration from the architecture of bridges – quite literally, as the purpose of linking communities.
In 2013, Lousje featured in Melbourne Now at the National Gallery of Victoria’s major exhibition. She exhibits across the globe from Australia to Europe and Japan. Her works will continue to inform new practice as some special pieces have already been snatched up by the The Museum of Applied Arts and Sciences in Sydney, and the Musée des Arts Décoratifs in Paris. Très bon. ¬¬¬
Louis Pratt, King Coal, 2015, coal and coal dust, resin, fibreglass and steel.
In 2009, Louis Pratt won the race to develop Australia’s first open source 3D printer. Since then he’s been digitally distorting 3D scans and producing sculptures using 3D printing.
Louis created the mould for the work with a 3D scanner and printer. In order to produce such a large sculpture from the relatively small printer in his studio, he broke up the data from the scan into parts, printing each in smaller sections.
2000 printing hours later, the mould was complete. Louis then applied a mixture of coal, coal dust, resin and fibreglass to the mould. Voilà!
The material selection challenges our relentless consumption of natural resources. King Coal depicts an arrogant character unwilling to change. Not Louis though. His practice is an ongoing experiment.
Louis’ work is well known nationally and internationally. His CV is a mile long – so here’s some highlights from the last three years: Sydney Contemporary, McClelland Sculpture Survey and Mt Buller Sculpture Prize.
Dr. David C. Ackland, Prosthetic Joint Replacement for the Human Jaw, 2015, grade-5 titanium and high-density polyethylene.
In an Australian-first surgical procedure, a man’s rare congenital jaw deformity has been corrected using a 3D printed jaw joint.
Dr. David Ackland and his bioengineering research team at the University of Melbourne collaborated with surgeon George Dimitroulis to design a prosthetic joint replacement using musculoskeletal modeling techniques. The joint was 3D printed in titanium before being implanted into the patient. The patient’s brief? I’ll have the Brad Pitt, thanks.
The prosthesis is set to improve the quality of life of countless others. It will revolutionise joint replacement surgery, allowing the creation of fully customised implants tailored to the anatomy of each patient. Less pain, less costly and less recovery time.
Michael Eden, A Twisted Oval Wedgwoodn’t Tureen, 2012 , nylon with mineral coating.
After spending 25 years as a ceramicist, 3D printing offered this British maker a new way of working.
It’s clear that A Twisted Oval Wedgwoodn’t Tureen simply couldn’t be made under the limitations of wheel and clay. Michael has paved the way for a new generation of artists to explore the creative freedom that 3D printing provides. Look familiar and strange at the same time? That’s because Michael took a funny old Wedgwood tureen, digitally manipulated the design before 3D printing with selective laser sintering technology.
Building off a body of work he began developing in 2008, which explored the abstract qualities of the vessel, Michael’s practice is established and well-respected internationally, exhibited at and collected by countless cultural powerhouses, including the Museum of Arts and Design & Cooper-Hewitt in New York, Victoria and Albert Museum in London and the Museum of Fine Arts in Boston. We’re in good company.