- CV Detail -
ARTIST'S STATEMENT
In urban worlds cluttered with public art, securing space for large scale sculpture takes political skill, if not talent, vision, and funding. Starting small might seem like your only option.
Instead, try spreading 3D modeled art and design across infinite procedural landscapes. There's room for everything in virtual worlds. Disperse your software defined environments right now on the Internet, and maybe someday throughout the cosmos with spacetime independent quantum entanglement.
I had a studio class in 1989 taught by sculptor Stephen De Staebler. Walking across campus, he asked about my day job, and I told him I designed computer games. He wanted to know what was on the technology horizon, and I said virtual reality. I speculated that artists would soon make sculpture in VR not meant for the physical world. With a wry smile, De Staebler said, "That's a scary thought, Tom."
Today I make art unconstrained by physics or conventional patronage. Finished pieces are polygon meshes that start as 3D scans of handmade maquettes and clay figures, as digital sculptures, and computer-aided designs. Launching one of my VR galleries invokes a fractal terrain generator and a forest vegetation spawner, conjuring unique, ephemeral landscapes in real-time. I think of these immersive worlds like follies I might open to the public and later deed to my descendants.
In urban worlds cluttered with public art, securing space for large scale sculpture takes political skill, if not talent, vision, and funding. Starting small might seem like your only option.
Instead, try spreading 3D modeled art and design across infinite procedural landscapes. There's room for everything in virtual worlds. Disperse your software defined environments right now on the Internet, and maybe someday throughout the cosmos with spacetime independent quantum entanglement.
I had a studio class in 1989 taught by sculptor Stephen De Staebler. Walking across campus, he asked about my day job, and I told him I designed computer games. He wanted to know what was on the technology horizon, and I said virtual reality. I speculated that artists would soon make sculpture in VR not meant for the physical world. With a wry smile, De Staebler said, "That's a scary thought, Tom."
Today I make art unconstrained by physics or conventional patronage. Finished pieces are polygon meshes that start as 3D scans of handmade maquettes and clay figures, as digital sculptures, and computer-aided designs. Launching one of my VR galleries invokes a fractal terrain generator and a forest vegetation spawner, conjuring unique, ephemeral landscapes in real-time. I think of these immersive worlds like follies I might open to the public and later deed to my descendants.
EDUCATION
EARLY CAREER
MIDDLE CAREER
LATE CAREER
