Christian Chegne Art

04/11/2020

Patience
Digital AI Art
Single Edition
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See the full collection on my website - link in Bio
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02/11/2020

Day of The Dead 💀

Today, 2nd Nov - is celebrated as day of the dead.

They say that on this day the veil between the living and the dead is at its thinnest.

Other traditions such as Saints Day, Samhain and Halloween, also mark this time of the year.

And so through the lens of the creator I am drawn to ask:
What is it that the past can bring to light today?
What movements do our ancestors represent and how do they interact with the now?
How can we honour our lineage and render its message as relevant today?

Over the week I’ve spent and intense time with both my mother and grandmother - hearing stories of my family and their lives and lineages - my grandmother lived in Paris at a time where she was connected to many great artists - - amonsgts others. Hearing small anecdotes and of her energising interactions has inspired us as a family and as creators, turn towards the past and draw upon the aesthetics and ambition of this generation - creating a retrospective of work that embraces our time today.

I will be revealing more on this soon - in the mean time - happy day of the dead - and may the reflective atmosphere of this time bring you new connections, purpose and creativity.
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01/11/2020

Momento Mori
Digital AI Art
Single Edition
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Part of ‘Algorithmic Roots’ - see the full collection on my website - link in Bio
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Created in collaboration with machine learning tools.
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31/10/2020

Latest on 3D prints.

Testing with white powder using selective laser sintering (SLS) - a technology that uses a laser to selectively bind together material (power) into solid structures via the indications of the design.

The details and finish is coming out at a great quality, especially after sanding. These will now be taken for metal plating to bring a dimension of fluidity and reflectivity.

A big thank you to for the backing and support on this part of the project.

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ESP 🇪🇸

Pruebas de autor con polvo blanco utilizando sinterización selectiva por láser (SLS): una tecnología que utiliza un láser para unir material (polvo) de forma selectiva en estructuras sólidas mediante las indicaciones del diseño.

Los detalles y el acabado están resultando de gran calidad, especialmente después del lijado. Ahora, a esta pieza se le dará un baño de metal para brindar una dimensión de fluidez y reflectividad.

Un gran agradecimiento a por el patrocinio y el apoyo en esta parte del proyecto.
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30/10/2020

Fire Flight
Digital AI Art
Single Edition

Part of my new collection of digital artworks - entitled ‘Algorithmic Roots’ - have a look at the full collection on my website.

Soon available for purchase - register your interest *at the bottom of the ‘Algorithmic Roots’ page.
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Created in collaboration with machine learning tools.
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30/10/2020

19/10/2020

Algorithmical Entities \ Layers of Abstraction (Part 4)

This layer, adopts a set of algorithmic ‘interruptions’ to visualise the movement of the dancer.

In contrast to what we have been working with on other layers (see previous posts), this application appears to exude a life and direction of it own - it lives as an ‘entity’.

On the other hand, these ‘living’ patterns are all mathematically and spatial connected to the established structure – this raises an interesting reflection upon the paradoxical nature of the other – or the ‘entity’ - arising as a phenomena that holds contrasting visual/structural values yet is sourced from the same whole.

Moving forwards...

We plan to develop our collection of 3D printed sculptures in a way that we can showcase a variety of approaches (featured in our last posts)– building a broad sculptural language of movement.

More so, as we develop our capacity and understanding we look take-on greater complexity - exploring the mixing or integrating of various approaches.

We have a fair bit of pro-typing ahead of us...

Stay tuned 👀
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18/10/2020

Atomic Approach \ Layers of Abstraction (Part 3)

This atomic approach to representing movement holds in it an interesting pathway of observations.

In seeing the ‘molecular structures’ or grid-like meshes we bring a new level of organisation to the sculptural design.

For me, this relates closely to the data that exists as the basis of these forms - the 1’s & 0’s, the coordinates and later oscillations - now become visible and we see the form in the context of its matrix.
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One to ponder upon 🤔
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16/10/2020

Constellations - Atomic Approach \ Layers of Abstraction (Part 3)

This constellating or atomic approach to representing movement, holds in it an interesting observation.

It reveals a mathematics to our creations. A web that connect us back to the basis of data that informs these sculptural designs. To a degree, every movement of the dancer can be reduced to a set of numbers, coordinates and later oscillations.

It is interesting to invite our perception towards these as they develop across time - in doing becoming aware of in the form in the context of its matrix.
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14/10/2020

Tracking the steps of the dancer \ Layers of Abstraction (Part 2)

This is very intriguing feature of our process of abstraction - marking the steps of the dancer.

It reminds me a multiple exposure photograph, where you see many moments bound together; presenting a time-lapsed view into movement.

In relation to this, arises the idea of rhythm; a succession of beats in a given time frame that imbue a sense of pace to the sculpture, depending on how many steps of the dancer are included. Something to play around with here...

Lastly, I see a strong resemblance to bones, to joints, to the vertebrae of the spine – and the ancestry of structures that define us. It is as if through modern-based design techniques we are producing the past and uncovering a variety of fossils along the way.
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12/10/2020

Adopting a Liquid Skin \ Layers of Abstraction (Part 1)

Using this ‘liquid skin’ was an initial response to making our designs more 3D printable – giving them a quality that would blunt the sharp edges/angles that tend to make things challenging to print.

From an aesthetic point of view, I’m loving the way it brings the form to life – and it’s something we intended from the start; to create a sculpture that communicates movement, that feels alive and dares to transcend its static nature...

This ‘liquid skin’ approach also invited us to withdraw certain areas of solidity from the sculpture’s design; revealing new traces of the dance and empty pockets of space.

The result reminds me of corrosion; a process that exemplifies the creative and destructive forces of nature – the beauty that emerges after ‘nature’s will’ creates, corrodes and sculpts our landscapes.
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11/10/2020

Layers of Abstraction \ Introduction

Here you see an outlay of our most recent phase of development.

Having captured the data of the dancer and assimilated this into a physical/solid language – we have now taken a step further into exploring ‘layers of abstraction.’

There are a few interesting approaches that have emerged:
• Adopting a liquid skin
• Tracking the steps of the dancer
• Constellating and creating grids
• Algorithmical entities

For my next posts – I will comment upon each of them – sharing with you some of reasons for their construction as well as the ideas and stories they lend to our sculptures.

Stay tuned 👀
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