CREATING NONEXISTENT ART
Virtual Reality (VR) and digital artist, based in Barneveld, the Netherlands, old skool painter as well, specializing in photorealism, surrealism using oilpaint and and since 2016 working in virtual reality using different types of hard- en software.
Trying to find new ways in art using hardware like the HTC Vive, the Oculus Rift and the Valve Index
- I create impossible, nonexistent art, impossible to hang on a wall, impossible to touch, but possible to experience.
- I sculpt and paint in an impossible, unreal and nonexistent world, between stars, deep down the earth, or whatever environment I choose to work in.
- I want to explore the possibilities of creating virtual art, possibilities and beyond, using Google Tilt Brush, Google Blocks and other programs like Gravity Sketch, Masterpiece VR and Oculus Medium. These are programs you can use to draw, paint and sculpt in virtual reality (VR), with all kinds of materials and (light-) effects.
- Art created in virtual reality, can only exist by the grace of electricity, computers, software; artificial art.
- All programs I use each have their own atmosphere and limitations as well, like any other program.
Feel free to contact me for work on commission or live performance: firstname.lastname@example.org
My You Tube Channel with more VR art than showcased here
Twitter ( mainly Dutch )
What makes painting in VR different from painting in real life?
The main difference I think is that you can view your work from all angles; when painting or drawing in real life, you have to suggest 3D, in VR you’re actually working in 3D, which makes it far more easier, if you get into the habit of walking around your work constantly.
Viewing different pieces of Tilt Brush art, I noticed that a lot of users still act like they were drawing in 2D. I made the same mistake myself; my first works of art looked more like 2D than 3D. It’s a process of learning, experimenting and adapting, which takes some time.
I also noticed that when working in virtual reality the size of the objects you are “drawing” is much bigger than you would draw in 2D. In 2D you are limited to the size of your paper or your canvas, the room you’re in, all kinds of limitations. If you discover any errors in your work, it takes more time to correct them, sometimes it’s even impossible. Working in VR allows you to pass beyond those limitations: I’m working on mostly massive life-size models now, which I can save in various stages during the process of creating something. If something goes wrong, I can revert back to the previous version with a push of the button on my controller ( my pencils, brushes ). I don’t have to start all over again.
Drawing or sculpting somewthing in VR can take very little time. It would have taken days or even weeks to do the same in 2D, not to mention the size of the object. If you put on your VR-glasses you‘ll be able to walk around or through the object, because it can be very large, stretching stretching over several hundreds of feet. This would be almost impossible to achieve in 2D. ‘Old fashioned’ drawing and painting has changed into a fascinating combination of sculpture, drawing and painting, which demands a totally different way of working with virtual materials.
The near future
In my opinion, when VR and AR ( Augmented Reality ) become quite common through the use of different types of glasses or contact-lenses, we will pay visits to virtual galleries and museums, sitting in our comfortable chairs at home or wherever we are. Augmented and virtual reality will offer endless possibilities, as you can see in this movie “Hyper reality”, made by London based Keiichi Matsuda “working at the intersection of technology, media and architecture”
Is this a horrifying future? It might be for the ones not used to information-overload. Put off your glasses and everything will be normal, even dull again. You still can escape from the virtual world, you’ll still have control.