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by Claudia Galhós

The context of the brief presentation of what Frieder is working on in the auditorium next to the big stage happens after the very much participated 6 p.m. meeting, in the forum room, with all artists present. This is the transcript of the presentation in his own words:

“You might wonder what it is about? I’m working with video, I am 100% 2D so far, but because some friends found some interesting aspects in 3D I am exploring it, but I have never managed 3D because projection is by it’s nature flat. I only found a few ways for me to go into 3D, like virtual 3D in combination with real performance. I have worked with video and performance, and am trying to find combinations.

So far I only used 3D media. So, this research is interesting for me because now there are cameras that can measure depth. They are 3D cameras. If you do a single shot, you only get what the camera sees. But if you turn the model, you see it all. With this software you can combine any of these shots in real time in order to form a model that you can then turn around. Except for a few holes. Dejan Srhoj actually tried to distorted it by moving while I did the scanning, and then the software is struggling.

[note: Frieder is showing the 3D images he has been doing during the day with different bodies, and some particular aspects the images the 3D camera produced are made evident in the shooting projected. One example is the head of Dejan body that loses it’s real form and silhouette, and becomes distorted and disfigured, for example.]

I focused on scanning the body. So, everything that is in the distance, falls apart. Explodes.

[note: Dejan Srhoj, Douglas Bateman or Nuria Guiu Sagarra are some of the artists Frieder scanned. This means each person stood still for a couple of minutes in one position in the white auditorium where Frieder has all his technical equipment set up. Then he proceeded to go around, up and down, the person with the 3D scanner. When he talks about the things in the distance that explode, he is referring to a chair that is in the horizon of the camera but, because of the distance, it is not recorded with the same precision of lines as the body, and seems like a ruin. The same happens with the floor, which maintains his integrity in the proximity of the body scanned, but gets a shattered texture as it gets distant from the body.]

The other idea I am working on is “in motion”. When I do the 2D video, I usually work with the outline, which is reconstructed as a vector, an old fashion vector graphics. Then I can add together every frame and make a 3 dimensional shape. This is the starting image and then there is an image of what it is 10 seconds later. And I want to play with movements that look interesting as a 3D evolution. That is something I want to set up in the next days, trying to find movement that looks interesting as a sculpture.