{"id":641,"date":"2022-04-05T07:39:00","date_gmt":"2022-04-05T07:39:00","guid":{"rendered":"https:\/\/artmediation.art\/?post_type=project&p=641"},"modified":"2022-04-23T08:36:58","modified_gmt":"2022-04-23T08:36:58","slug":"thomas-schmidt","status":"publish","type":"project","link":"https:\/\/artmediation.art\/index.php\/project\/thomas-schmidt\/","title":{"rendered":"Thomas SCHMIDT"},"content":{"rendered":"\n\n[et_pb_section fb_built=”1″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_row column_structure=”2_5,3_5″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”2_5″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_gallery gallery_ids=”269,267,268,266″ fullwidth=”on” _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_gallery][et_pb_text _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]

Thomas Schmidt, Future Flora<\/em>, porcelana odlewana, kalkomanie ceramiczne, od\u0142amki ceramiki, PLA drukowane 3D, technika mieszana, 48 x 40 x 46 cm, 2019<\/strong><\/p>\n

Ta rze\u017aba jest abstrakcyjnym asambla\u017cem, przedstawiaj\u0105cym skomplikowany stan ceramiki w epoce post-cyfrowej: odlewane modu\u0142y porcelanowe, produkowane podczas rezydencji w Jingdezhen w Chinach, pochodz\u0105 z wydrukowanych modeli 3D, a nast\u0119pnie s\u0105 sk\u0142adane w spl\u0105tan\u0105 sie\u0107. Do\u0142\u0105czony do niestandardowego sprz\u0119tu s\u0105 zabytkowe od\u0142amki ceramiki, ceramika przemys\u0142owa, cz\u0119\u015bci drukowane w 3D i r\u00f3\u017cne znalezione przedmioty jako artefakty w tej \u201eob\u0142oce materia\u0142\u00f3w\u201d. Jako REMIX dekoracji kwiatowych w historii chi\u0144skiej porcelany, powierzchnia jest wytwarzana z cyfrowo zmanipulowanych fotografii mch\u00f3w, porost\u00f3w i innych ro\u015blin w lasach Jingdezhen w Chinach.<\/p>\n

Thomas Schmidt, Future Flora<\/em>, cast Porcelain, ceramic decals, pottery shards, 3D printed PLA, mixed media, 48 x 40 x 46 cm, 2019<\/span><\/strong><\/p>\n

This sculpture is an abstract assemblage, representing the complicated state of ceramics in the post-digital age: Cast porcelain modules, produced on residency in Jingdezhen, China, are derived from 3D printed models, then assembled to create a tangled network.\u00a0 Attached with customized hardware are historic pottery shards, industrial ceramics, 3D printed parts and various found objects as artifacts within this “material cloud”.\u00a0 As a REMIX of floral decoration within the history of Chinese porcelain, the surface is produced from digitally manipulated photographs of moss, lichen and other plant-life in the forests of Jingdezhen, China.<\/span>\u00a0<\/p>\n

Thomas Schmidt, Modu\u0142owe studium p\u0142ytek<\/em>, renderowanie cyfrowe, 2022<\/strong><\/p>\n

Jest to renderowanie pracy w toku wygenerowane ze skanu 3D zmi\u0119tego papieru. Chocia\u017c Thomas Schmidt cz\u0119sto u\u017cywa druku 3D jako narz\u0119dzia do tworzenia modeli, ten projekt proponuje druk 3D jako produkt ko\u0144cowy.<\/p>\n

<\/span><\/strong><\/p>\n

Thomas Schmidt, Modular Tile Study<\/em>, Digital Rendering, 2022<\/span><\/strong><\/p>\n

This is a rendering of a work in progress generated from a 3D scan of crumpled paper.\u00a0 While Thomas Schmidt often uses 3D printing as a model making tool, this design proposes the 3D print as the final product.<\/span>\u00a0<\/p>[\/et_pb_text][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_text _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]

Thomas SCHMIDT<\/h2>\n

Associate Professor | Associate Professor
University of North Carolina at Charlotte | University of North Carolina at Charlotte<\/strong><\/p>\n

Stany Zjednoczone | United States of America,\u00a0USA
<\/strong><\/p>\n

<\/h4>\n

Narz\u0119dzia cyfrowe w postcyfrowym krajobrazie | Digital Tools in a Postdigital Landscape<\/strong><\/h4>\n

 <\/p>[\/et_pb_text][et_pb_accordion _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_accordion_item title=”BIO” open=”on” _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]

[PL]\u00a0<\/strong>Thomas Schmidt uzyska\u0142 tytu\u0142 licencjata na Loyola University Chicago w 2004 r., \u015bwiadectwo uko\u0144czenia studi\u00f3w podyplomowych w The School of the Art Institute of Chicago w 2006 r. oraz tytu\u0142 magistra w nowojorskim State College of Ceramics na Alfred University w 2009 r. Nast\u0119pnie wyk\u0142ada\u0142 przez cztery lata w programie Alfred\/CAFA Ceramic Design for Industry w Chi\u0144skiej Centralnej Akademii Sztuk Pi\u0119knych w Pekinie. W 2012 roku wraz z Jeffreyem Millerem utworzyli zesp\u00f3\u0142 projektowy Recycled China, kt\u00f3rego prace wykorzystuj\u0105 odpady przemys\u0142owe w Chinach do tworzenia architektonicznych p\u0142ytek i obiekt\u00f3w rze\u017abiarskich. Jego wsp\u00f3lne i indywidualne prace zosta\u0142y nabyte przez liczne kolekcje, w tym The Daum Museum of Contemporary Art w Sedalia, Missouri, The International Museum of Ceramics w Faenza we W\u0142oszech oraz Victoria and Albert Museum w Londynie. W 2021 r. Schmidt otrzyma\u0142 Br\u0105zow\u0105 Nagrod\u0119 na Mi\u0119dzynarodowym Konkursie Ceramiki w Mino w Japonii za \u201cNotebook Series\u201d [Seria Notatnik\u00f3w], w kt\u00f3rej odtwarza strony zeszyt\u00f3w z odlewu porcelanowego i kalkomanii ceramicznych. Schmidt pracuje obecnie jako profesor nadzwyczajny interdyscyplinarnego studia 3D na Uniwersytecie Karoliny P\u00f3\u0142nocnej w Charlotte. W tej roli pom\u00f3g\u0142 stworzy\u0107 pierwsze laboratorium Digital Fabrication Lab na Wydziale Sztuki wraz z odpowiednim programem nauczania, kt\u00f3ry integruje narz\u0119dzia cyfrowe z szeregiem tradycyjnych medi\u00f3w.<\/p>\n

Zdj\u0119cia prac Thomasa Schmidta mo\u017cna znale\u017a\u0107 na stronach <\/span>www.thomasschmidt.org<\/a>\u00a0<\/span>i\u00a0<\/span>www.instagram.com\/tomschmidtstudio<\/a><\/span>\u00a0<\/span><\/p>\n

[ENG]\u00a0<\/strong>Thomas Schmidt received his BA at Loyola University Chicago in 2004, Post-Baccalaureate Certificate at The School of the Art Institute of Chicago in 2006, and MFA at the New York State College of Ceramics at Alfred University in 2009.\u00a0 Thereafter, he taught for four years at the Alfred\/CAFA Ceramic Design for Industry program at the China Central Academy of Fine Arts in Beijing. In 2012 he and partner Jeffrey Miller co-founded the design team Recycled China; whose work uses industrial waste within China to create architectural tile and sculptural objects.\u00a0 His collaborative and solo work has been acquired by numerous collections including The Daum Museum of Contemporary Art in Sedalia, Missouri, The International Museum of Ceramics in Faenza, Italy, and the Victoria and Albert Museum in London.\u00a0 In 2021, Schmidt received the Bronze Prize at the International Ceramics Competition in Mino, Japan for his \u201cNotebook Series\u201d in which he recreates notebook pages in cast porcelain and ceramic decals.\u00a0 Schmidt currently serves as Associate Professor of Interdisciplinary 3D Studio at the University of North Carolina at Charlotte.\u00a0 In this role he helped to establish the Art Department\u2019s first Digital Fabrication Lab along with corresponding curriculum which integrates digital tools with a range of traditional media.<\/p>\n

You can find images of Thomas Schmidt’s work at\u00a0<\/span>www.thomasschmidt.org<\/a>
<\/span>and\u00a0<\/span>www.instagram.com\/tomschmidtstudio<\/a><\/span>\u00a0<\/span><\/p>[\/et_pb_accordion_item][et_pb_accordion_item title=”Abstrakt” _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content” open=”off”]

[PL]\u00a0<\/strong>W tym wyst\u0105pieniu Thomas Schmidt bada nieustannie zmieniaj\u0105c\u0105 si\u0119 natur\u0119 cyfrowej produkcji we wsp\u00f3\u0142czesnej praktyce studyjnej. Zar\u00f3wno z perspektywy artysty, jak i pedagoga ewoluuj\u0105ca integracja narz\u0119dzi cyfrowych ze sztuk\u0105 wizualn\u0105 by\u0142a prze\u0142omowa: skanowanie 3D pozwala nam cyfrowo archiwizowa\u0107 i manipulowa\u0107 wszystkimi formami, od mikroskopijnych po monumentalne. Modelowanie 3D i cyfrowe rze\u017abienie pozwalaj\u0105 nam generowa\u0107 i manipulowa\u0107 formami w niespotykany dot\u0105d spos\u00f3b. A poniewa\u017c powoli zaludniamy wirtualne przestrzenie, jednocze\u015bnie opracowujemy pot\u0119\u017cne i dost\u0119pne narz\u0119dzia produkcyjne, kt\u00f3re przenosz\u0105 wirtualne formy do \u015bwiata fizycznego.<\/p>\n

Drukarka 3D jest jednym z tych rewolucyjnych narz\u0119dzi, kt\u00f3re mog\u0105 pe\u0142ni\u0107 r\u00f3\u017cne role we wsp\u00f3\u0142czesnej praktyce studyjnej: druk 3D pozwala artystom prototypowa\u0107 i powtarza\u0107 z\u0142o\u017cone projekty z r\u00f3\u017cnych materia\u0142\u00f3w, od plastiku po porcelan\u0119 i wiele innych. Mamy mo\u017cliwo\u015b\u0107 wykorzystania druku 3D do tworzenia konfigurowalnego sprz\u0119tu w ramach wi\u0119kszych system\u00f3w rze\u017abiarskich lub do generowania modeli do wykorzystania w bardziej tradycyjnych przep\u0142ywach pracy, takich jak tworzenie form i techniki traconego wosku. Chocia\u017c te przyk\u0142ady ukazuj\u0105 wykorzystanie druku 3D jako po\u015brednika w szeregu metod projektowania i produkcji, istniej\u0105 r\u00f3wnie\u017c coraz bardziej udane przyk\u0142ady, w kt\u00f3rych wydrukowany obiekt funkcjonuje jako gotowy produkt sam w sobie.<\/p>\n

Jednak w ramach tego wachlarza mo\u017cliwo\u015bci warto oddali\u0107 si\u0119 i rozpozna\u0107 zwi\u0105zek mi\u0119dzy narz\u0119dziem a tre\u015bci\u0105: poniewa\u017c cyfrowe interfejsy i do\u015bwiadczenia staj\u0105 si\u0119 nierozerwalnie zwi\u0105zane z ka\u017cdym aspektem naszego zbiorowego do\u015bwiadczenia, jak wtedy mo\u017cemy skalibrowa\u0107 rol\u0119 cyfrowego narz\u0119dzia w ramach praktyki tw\u00f3rczej? W jakim stopniu u\u017cycie tych narz\u0119dzi przekracza granic\u0119 od narz\u0119dzia praktycznego do tre\u015bci dzie\u0142a i w jakim celu?<\/p>\n

W tej prezentacji Thomas Schmidt podzieli si\u0119 licznymi przyk\u0142adami, kt\u00f3re pomog\u0105 odr\u00f3\u017cni\u0107 skomplikowan\u0105 rol\u0119 modelowania 3D i cyfrowej produkcji we wsp\u00f3\u0142czesnym krajobrazie.<\/p>\n

[ENG]\u00a0<\/strong>In this talk, Thomas Schmidt explores the ever changing nature of digital fabrication within a contemporary studio practice.\u00a0 From both the perspective of artist and educator, the evolving integration of digital tools with visual art has been groundbreaking:\u00a0 3D scanning allows us to digitally archive and manipulate all range of forms from microscopic to monumental.\u00a0 3D modeling and digital sculpting allow us to generate and manipulate forms in unprecedented ways. And as we slowly populates virtual spaces, we are simultaneously developing powerful and accessible fabrication tools that bring virtual forms into the physical world.<\/p>\n

The 3D printer is one of those revolutionary tools that can serve a variety of roles in a contemporary studio practice:\u00a0 3D printing allows artists to prototype and iterate complex designs in a variety of materials, from plastic to porcelain among many others.\u00a0 We have the ability to use 3D printing to create customizable hardware within larger sculptural systems, or to generate models to be used towards more traditional workflows such as mold-making and lost-wax techniques.\u00a0 While these examples capture the use of 3D printing as an intermediary for a range of design and production methods, there are also increasingly successful examples of the printed object functioning as the finished product in and of itself.<\/p>\n

Yet within this array of possibilities, it may be worthwhile to zoom out and recognize the relationship of the tool versus the content:\u00a0 As digital interfaces and experiences become inextricably linked with every aspect of our collective experience, how then might we calibrate the role of digital tools within a creative practice?\u00a0 To what extent does the use of these tools cross the boundary from practical tool into the content of the artwork, and to what end?<\/p>\n

In this presentation Thomas Schmidt will share numerous examples to help tease apart the complicated role of 3D modeling and digital fabrication in the contemporary landscape.<\/p>\n

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Thomas Schmidt, Future Flora, porcelana odlewana, kalkomanie ceramiczne, od\u0142amki ceramiki, PLA drukowane 3D, technika mieszana, 48 x 40 x 46 cm, 2019 Ta rze\u017aba jest abstrakcyjnym asambla\u017cem, przedstawiaj\u0105cym skomplikowany stan ceramiki w epoce post-cyfrowej: odlewane modu\u0142y porcelanowe, produkowane podczas rezydencji w Jingdezhen w Chinach, pochodz\u0105 z wydrukowanych modeli 3D, a nast\u0119pnie s\u0105 sk\u0142adane w spl\u0105tan\u0105 […]<\/p>\n","protected":false},"author":1,"featured_media":269,"template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"project_category":[27,89,90,87,91,26,88,85,86],"project_tag":[],"class_list":["post-641","project","type-project","status-publish","has-post-thumbnail","hentry","project_category-3d-printing","project_category-3d-scanning","project_category-ceramics","project_category-ceramika","project_category-digital-fabrication","project_category-druk-3d","project_category-obrobka-cyfrowa","project_category-postdigital","project_category-skanowanie-3d"],"_links":{"self":[{"href":"https:\/\/artmediation.art\/index.php\/wp-json\/wp\/v2\/project\/641","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artmediation.art\/index.php\/wp-json\/wp\/v2\/project"}],"about":[{"href":"https:\/\/artmediation.art\/index.php\/wp-json\/wp\/v2\/types\/project"}],"author":[{"embeddable":true,"href":"https:\/\/artmediation.art\/index.php\/wp-json\/wp\/v2\/users\/1"}],"version-history":[{"count":3,"href":"https:\/\/artmediation.art\/index.php\/wp-json\/wp\/v2\/project\/641\/revisions"}],"predecessor-version":[{"id":644,"href":"https:\/\/artmediation.art\/index.php\/wp-json\/wp\/v2\/project\/641\/revisions\/644"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artmediation.art\/index.php\/wp-json\/wp\/v2\/media\/269"}],"wp:attachment":[{"href":"https:\/\/artmediation.art\/index.php\/wp-json\/wp\/v2\/media?parent=641"}],"wp:term":[{"taxonomy":"project_category","embeddable":true,"href":"https:\/\/artmediation.art\/index.php\/wp-json\/wp\/v2\/project_category?post=641"},{"taxonomy":"project_tag","embeddable":true,"href":"https:\/\/artmediation.art\/index.php\/wp-json\/wp\/v2\/project_tag?post=641"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}