The last chapter talks about turning digital art into physical objects using 3D printing. This is interesting because it brings something virtual into the real world. However, it’s not about making perfect objects. Instead, artists are interested in the mistakes and imperfections that happen during the process. These flaws make the work feel more human and also raise questions about technology and materials.
Sophie Kahn is a digital artist and sculptor, whose work addresses technology’s failure to capture the unstable human body. She grew up in Melbourne, Australia, and now lives and works in Brooklyn, New York. She earned a BA (Hons) in Fine Art/History of Art at Goldsmiths College, University of London; a Graduate Certificate in Spatial Information Architecture from RMIT University, Melbourne; and an MFA in Art and Technology Studies at the School of the Art Institute of Chicago.
Do Ho Suh (b. 1962, Seoul, Korea; lives and works in London, United Kingdom) works across various media, creating drawings, film, and sculptural works that confront questions of home, physical space, displacement, memory, individuality, and collectivity. Suh is best known for his fabric sculptures that reconstruct to scale his past and present homes and studios in Korea, Rhode Island, Berlin, London, and New York. Suh is interested in the malleability of space in both its physical and metaphorical forms, and examines how the body relates to, inhabits, and interacts with that space. He is particularly interested in domestic space and the way the concept of home can be articulated through architecture that has a specific location, form, and history.
Sabrina Ratté is a Canadian artist based in Montreal, who also lived and worked for six years in Paris. Her practice explores the perceptual and material potentials of digital media through 3D animation, analog video, print, and installation. Drawing from technology, philosophical thought and speculative ecology, her work maps liminal zones where relationships between material and virtual worlds are reconfigured. Through immersive and interactive installations, she develops hybrid cosmologies that question the evolution of our environments and the narratives that shape them. Her works evoke possible futures, both sublime and unsettling, in which the organic, the synthetic, and the spectral coexist within a single continuum.
