DEFORMER: 3D scans from FROWIJN latest collection – Serie V
‘When matter is translated from a physical state to a digital one, it loses its weight and solidity. It also loses the constraints it’s bound to by the laws of physics. A digital object only represents its physical partner by the shape, which they share. The freedom from physical limits allows digital objects to behave in ways, which are unexpected and unfamiliar to us. To me, the digital world is a plane of existence on its own, separate from our physical one. It is however made possible by the physical/mechanical constructions, which we call computers. The digital world was created so that tasks so common to us like communication, numeracy, archiving etc. would become much more efficient. Representation of imagery was probably not the first necessity of early computer programmers, but it is exactly what fascinates me the most. Because representation of image is no longer bound to physical matter, like a charcoal drawing on paper, a whole new infinite space of imagery becomes possible.
The program with which I made the video “Deformer” attempts to re-create elements of the physical world, like gravity, wind and the reflection of light. I find the digital re-enactment of physics so enchanting but also absurd. For scientists, engineers and architects, digital simulations can be ground breaking and even life saving. When this re-enactment is taken more lightly, suddenly the handwriting of the digital world becomes apparent. If we become more accepting of the flaws and “in-corrections” of computer generated graphics, rather than expecting a computer to re-represent our reality accurately, we can access a rich source of creation, which had not previously been possible.
The clothing made by FROWIJN in this video is strongly subjected to digital deformers. Cloth is no longer cloth, but light, malleable putty. Movable, stretchable and very deformable. The garments are stripped of their physicality, and in return are given the possibilities of a digital existence, allowing them the freedoms of non-materiality.
The setting for this film is a 3D scanned version of a cliff scape, which exists on the Cornish coastline in South West England, close to where I grew up. The roughness of the rocks is a reminder to me of how the forces of nature shape our physical world. By re-purposing this landscape, the digital forces now get their chance to play.’
– Ignas van Rijckevorsel