- CV Detail -
ARTIST'S STATEMENT
Securing space for public art in crowded urban environments takes political skill, visionary concepts and substantial funding. Starting small might seem like your only option.
Instead, try making art for vast 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 not meant for the physical world. With a wry smile De Staebler replied, "That's a scary thought, Tom."
For my day job in 2000, I was a part-time ironworker at Mark di Suvero's Petaluma, California studio. In the evenings, I developed I‑beam and plate steel sculptures with 3D modeling software by Autodesk, my partner's employer. I was a Technical Artist at James Madison University in 2014 when I first stood beneath these works and walked among them using a game engine and virtual reality.
In 2020, I was generating polygon meshes from 3D scans of handmade maquettes and clay figures, from digital sculpts and surface models. Today I design and develop user interfaces for navigating procedural landscapes roamed by conversational docents. In an upcoming book, I chronicle the rise of this art form and I imagine its future.
Securing space for public art in crowded urban environments takes political skill, visionary concepts and substantial funding. Starting small might seem like your only option.
Instead, try making art for vast 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 not meant for the physical world. With a wry smile De Staebler replied, "That's a scary thought, Tom."
For my day job in 2000, I was a part-time ironworker at Mark di Suvero's Petaluma, California studio. In the evenings, I developed I‑beam and plate steel sculptures with 3D modeling software by Autodesk, my partner's employer. I was a Technical Artist at James Madison University in 2014 when I first stood beneath these works and walked among them using a game engine and virtual reality.
In 2020, I was generating polygon meshes from 3D scans of handmade maquettes and clay figures, from digital sculpts and surface models. Today I design and develop user interfaces for navigating procedural landscapes roamed by conversational docents. In an upcoming book, I chronicle the rise of this art form and I imagine its future.
EDUCATION
EARLY CAREER
MIDDLE CAREER
LATE CAREER
