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May 2016

#3D Animation


3D Animation/Sound + Installation 

Project Lapsing tries to resonate the “sound nostalgia” of a group of everyday item (clock, calculator, cassette, tape recorder, landline, piggy bank, faucet, door knocker, fan, dial up internet, pulling cord, etc...). Though probably still in use now, most of them have resided inside electronic devices, become apps, websites, or otherwise been transformed into more high-tech objects. 

I hesitate to describe these group of objects as obsolete, or define a specific “expired date” of them, but little by little, they are going away with the old days. What is disappearing, however, is not just the physical appearance, but the auditory component as well. 

︎  Installation in “Since the Epoch” exhibition at Boston Cyber Art Gallery

︎  Installation at Rhode Island School of Design

Accompanying with specific sound tracks frame by frame, each object was recreated as a 3D model and animated on the screen of an electronic device.

︎  16 3D models recreated in Cinema4D

3D animation

Far from setting the “old physical forms” against to “digital products”, this design aims to challenge a convention: portrait usually represents/equals to the actual object itself. Their existences in the 3D virtual world and the fact that they reside in real, touchable things (iPhone, laptop, monitors...) suggest a paradox that tries to deny such convention.

Memories, (which I considered as a subset of dream), are more confused, less clearly drawn, and only poetic meditation can help us to recapture. The short animations and the paradox design function as poetries to give us back the situations of our shred nostalgic dreams we had in home that we lived before. They were so real in the past but not just as distant as the future. So more than just reminding us the inauthenticity in frame, it throws the question about the facticity of everything outside the frame as well.

This mixture of outdated things and daily necessities, virtual models and actual objects, realistic sounds/animations and simulative “be used” status, constructs a space in which past, present and future give it different dynamisms, which often interfere, at times opposing, simulating one another. What’s seems to lapse into the past, can also be sealed in the future.