Don’t miss the exciting opening of Mr Johann Booyens’ exhibition which takes place on the 27th at the re-furbished CCDI ground floor space at 75 Harrington St at 6 pm and will run until 1 September 2014.

 

The exhibition theme THE SOFTWARE IDEATED PLATE: towards designing a new relationship of integration between digital technology and the intaglio process, offers an insightful and innovative way of looking at digital technologies and hand technologies and what the strengths are if the two are used in close conjunction. The intaglio etchings are thought- provoking and make strong statements about a variety of topic under the banner of entropy.

 

Read Booyen’s abstract below for more information on this exhibtion:

 

THE SOFTWARE IDEATED PLATE: towards designing a new relationship of integration between digital technology and the intaglio process.

 

ABSTRACT

This study investigates the application and use of the latest software technologies to help plan and ideate the intaglio process. This is significant as intaglio is a 600 year old process which has evolved little, if any in the last few hundred years although it was born from technology. Furthermore, intaglio process relies on mental visualisation of the final artwork making the real outcome and the planned outcome dissimilar. In this research computer software is used as a simulator to facilitate the planning process in order to minimise the disconnect and serve as learning instrument. The use of digital computer technologies has been a highly debated issue in printmaking as there exists a rift between printmakers; those who embrace and explore new technologies and those who reject new methods in favour of traditional means (Platzker and Wyckoff 2000:16). New technologies in printmaking offer exciting opportunities, both innovative and creative (Platzker and Wyckoff 2000:9-10), but these new technologies are often seen as alternative or auxiliary methods of printmaking compared to traditional ways. Since these debates has been buried but not necessarily resolved, this study reinvigorates some of these perspectives and seeks a common middle ground. This study therefore makes a claim not for, or against technology, but rather a third option: technology can coexist with intaglio without compromising the beauty of intaglio. Computer technologies therefore serve as facilitator to amplify the traditional intaglio hand process. Hybrid printmaking is not the issue of discussion here, rather a hybrid mode of thinking in the
printmaking discipline.
This iterative design experiment consists of a written dissertation and intaglio printed artworks which inform and complement each other. The theoretical foundation of the art practice is found in the Bauhaus slogan: “Art and technology: a new unity” (Droste 2002). As art and technology form the basis of the theory, the theme of entropy or the process of degeneration is illustrated. This theme shows process and illustrates the idea of a positive agent: the interference of computer in intaglio to instil new energy and value to not only keep it alive, but position it as an important skill necessary for growth in the knowledge based economy. Furthermore, this study contributes to the scholarly discussion of design’s conceptual skills (ways of thinking) to enhance production capabilities (ways of making).