Additive Photography

Ives Maes

About this exposition

Since the invention of photography, there have been numerous hybrid experiments between photography and sculpture that testify to a continuous influence of sculpture on photography and vice versa. In my own visual work, I am researching the physical, sculptural and architectural aspects of photography. I am analysing a number of historical experiments, from the 16th century camera obscura pavilion to 21st century digital processes, which I apply to my artistic practice. A particularly important example is the photosculpture process of François Willème. In the late 1850s, he aimed at reproducing sculpture with the help of photography, creating a distinctive union between the two media. His method to extrude sculptures from photographs laid the ground principles for the 3D scanner and printer. In this exposition I bring to the fore how the work of Willème propelled its significant influence towards today, and how it inspired me to create new visual work. At the same time, this experience constitutes an exemplary case study on how theoretical research can steer the creation of visual research.

type	research exposition
keywords	artistic research, Sculpture, PHOTOGRAPHY, installation, photosculpture, visual art, historically informed photography, 3D printing, 3D scanning, panorama
date	11/03/2017
published	18/01/2019
last modified	18/01/2019
status	published
share status	private
affiliation	KASK School of Arts Ghent / University Ghent
license	All rights reserved
url	https://www.researchcatalogue.net/view/343349/343350
doi	https://doi.org/10.22501/jar.343349
published in	Journal for Artistic Research
portal issue	17. 17
external link	https://expertise.hogent.be/en/projects/the-future-of-yesterday-can-only-become-present-as-past-een-onderzoek-naar-de-wisselwerking-tussen-de-architectuur-van-wereldtentoonstellingen-en-een-ruimtelijke-vorm-van-fotografie(fc42411e-8788-4d1e-98c8-a15f464cf8ff).html

name	Fig. 2
copyright	Ives Maes
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name	Fig. 3
copyright	Ives Maes
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name	Fig. 4
copyright	Ives Maes
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name	Fig. 6
copyright	Ives Maes
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name	Fig. 5
copyright	Ives Maes
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name	Fig. 8
copyright	Ives Maes
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name	Fig. 9
copyright	Ives Maes
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name	Fig. 10
copyright	Ives Maes
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name	Nude Beach Bound
copyright	Ives Maes
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name	Fig. 11
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name	Fig. 12
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name	Fig. 13
copyright	public domain
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name	Fig. 14a
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name	Fig. 14b
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name	Fig. 15
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name	Fig. 16
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name	Fig. 17
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name	Fig. 18
copyright	Ives Maes
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name	Fig. 19
copyright	Ives Maes
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name	Fig. 20
copyright	Ives Maes
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name	Fig. 21a
copyright	Ives Maes
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name	Fig. 22
copyright	Ives Maes
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name	Fig. 21c
copyright	Ives Maes
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name	Fig. 21b
copyright	Ives Maes
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name	Fig. 23
copyright	Ives Maes
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name	Fig. 24
copyright	Ives Maes
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name	Fig. 26
copyright	Ives Maes
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name	Tulips
copyright	Ives Maes
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name	tulips 3D
copyright	Ives Maes
license	All rights reserved
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name	Fig. 27
copyright	public domain
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name	Fig. 28
copyright	public domain
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name	Fig. 29
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name	Fig. 30
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name	Fig. 31
copyright	public domain
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name	Fig. 32
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name	Fig. 33a
copyright	Ives Maes
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name	Fig. 33b
copyright	Ives Maes
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name	Fig. 34b
copyright	Ives Maes
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name	Fig. 35a
copyright	Ives Maes
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name	Fig. 35b
copyright	Ives Maes
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name	Fig. 36a
copyright	Ives Maes
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name	Fig. 36b
copyright	Ives Maes
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name	Fig. 37a
copyright	Ives Maes
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name	Fig. 37b
copyright	Ives Maes
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name	Fig. 38a
copyright	Ives Maes
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name	Fig. 38b
copyright	Ives Maes
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name	Fig. 34a
copyright	Ives Maes
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name	Fig. 39a
copyright	Ives Maes
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name	Fig. 39d
copyright	Ives Maes
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name	Fig. 40
copyright	Ives Maes
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name	Fig. 41
copyright	Ives Maes
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name	Fig. 42
copyright	Ives Maes
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name	Fig. 43
copyright	Ives Maes
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name	Fig. 44
copyright	Jan Kempenaers
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name	Fig. 45
copyright	Jan Kempenaers
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name	Fig. 46
copyright	Jan Kempenaers
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name	Fig. 47
copyright	Rik Vannevel
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name	Museum Dhondt-Dhaenens
copyright	Ives Maes
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name	Prada Foundation
copyright	Ives Maes
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name	Tar Paper Shack
copyright	Ives Maes
license	All rights reserved
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Additive Photography (2019)

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