the end got cut off, probably didn’t render all the way through. I’ll re-render tonight and upload a whole version tomorrow.

Xerox Dust
Mollie Fabric
A naked body is xeroxed over and over until its image degrades into the dust of digital compression artifacts. This degradation is caused by the compression of visual data as the antiquated (low resolution) xerox tries to record and replicate as much information as possible from the original image, but is unable to accurately reproduce the image pixel for pixel.
On the micro level the pixels begin to morph into tiny island shapes, turning the body into some kind of imaginary micro landscape. On the macro level the body is first abstracted into geometric shapes and then blurs out into nothingness.

Xerox Dust was exhibited in the DXARTS Undergraduate Works in Progress Show at the School of Art Sandpoint in May 2008.

People contemplating Xerox Dust, May 2008.

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Also, I put a lot of time into the poster:

… and the program

CG composited in After Effects

link to one larger

initial test, looks awesomely hyper real when in motion.

this is just a really really simple test to see how compositing works.

more to follow.

• organized/collected (nagged)/edited everyone’s artist statements and project statements
• designed the digital postcard
• designed the 11×17 poster
• printed posters out of pocket
• looked up buses/transportation
• made wall tags for the gallery

I plan on

• making arrows for within sandpoint to guide people to the door

http://morbidanatomy.blogspot.com/

-Is the decision in the progress of your project based on your concept?
Are all choices and steps reflecting your concept or in the context of your direction?

Yes, I think it is very important to work in the context of the concept of the project.
For this reason I will go ahead and use the non-archival supplies my project was originally printed on, because it feels more honest, right now, to the original thought of making a billion xerox copies.

I think it is important to keep this project as simple and elegant as possible, as the idea
grew out of the simplicity and fun of playing with an old xerox machine.

*Gatorboard with large swaths of velcro on the back, to stick it to wall. (Talked to Paul Berger about this, who mentioned a ceramic artist who used velcro to successfully hold up a considerable amount of weight)

*3M sticky iron on (or push on) stuff to adhere the individual papers to the gatorboard.
*possibly spray adhesive would work for this job too (but not as well, and probably not as archival)

*Look into the specs of the ink I used- is it archival?
*re print on RAG paper, NOT the crappy stuff from staples I used (haha)

Other things Paul brought up, which are of interest:
*adding depth across the matrix to imply the time/repetition of the process (under more copied columns, have a tiny stack of paper)
*recompositing (digitally) parts of more copied sections into earlier stages, then copying those (and vice versa) to get a weird integrated effect/ give it some kind of punctuation.

(I did not get to any museums last week, but I plan on the Henry and the James Harris on tuesday afternoon.)

-gathered desert mountain images
-started photoshopping those (color correction/chopping em up into component parts)
-tried every single paint tool installed on the school computer (see what I did with the meat tool)
-decided which grass to use (and started tweaking its attributes)
-made a ground plane with rolling hills (that I’m not sure I can use anyway)

Not the best claymation, but i like the woman’s eyes, and this gives me a lot of confidence that i’ll be able to acheive a more “realistic” effect with more time put into it.

At this point claymation seems like the best option.