Internal External by Ina Conradi Chavez

INA CON RA DI

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internal external

ina conradi

CON TEN TS

PREFACE WORKS Natural Systems: Decomposition Gold Natural Systems: Decomposition Red Natural Systems: Decomposition Blue

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ARTIST PALETTE Reassessment of Materials: Algorithm

ABSTRACTION IN VISIBLE Art visualizations and Public Art proposals in Singapore

EXHIBITIONS: INTERNAL EXTERNAL Post- Museum, Singapore KITC GGEX, Kyoto, Japan

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artist biography

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Research Papers

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CREDITS

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imprint

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PRE FA CE

The intent of this catalogue is to present artist practice pursued through the process of research and discovery, the outcome of the work done at the School of Art Design and Media, Nanyang Technological University titled: Digital Imaging in Singapore, The Integration of digital imagery with traditional art media and techniques for site specific architectural, urban and landscape settings of Singapore. The work delves into an exploration of an innovative approach toward image creation methodologies, researching and integrating emotive and subjective abstract imagery in digital, traditional and non-traditional forms. Made at the School of Art, Design and Media at Nanyang Technological University where part of the educational mission is to provide opportunities for faculty and students to pursue art as research, the artwork is created with the financial support from Academic Research Fund (AcRF). With a focus on exploring digitally generative systems and techniques for integrated image generation, painting methods with digital technologies and integrating traditional art methods and materials, the emphasis of art practice is on exploring the limitations of the digital medium, abstract painting and other forms of visual imagery, striving to achieve greater creative levels.

'The eternal center and birth of life are everywhere. Trace a circle no larger than a dot, a birth of eternal nature is therein contained.' JacobBohme

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male fluidity material incompleteness invariable spiritual infinite light visible vertical stability visual beauty vast chaotic perfect-human attractive 12

female enclosure immaterial completeness variable material finite dark invisible horizontal instability conceptual beauty nothing lacking-human repulsive 13

WO RKS

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WORKS

On the Meaning of Abstraction in Art

ABSTRACT 1a: disassociated from any specific instance b: difficult to understand abstruse; 2: intellectual and affective artistic content that depends solely on intrinsic form rather than on narrative content or pictorial representation

point for this study is comprised of image generation researching the diversity of stylistic methods of abstract art painting: painterly automatism with free creation of imaginary forms, action painting and color field painting with a highly articulated, psychologically based use of color. Through a course lasting a few months, diverse hybrid methodologies of spontaneous mark making were repurposed in creating still images and moving painterly abstractions, short animated clips that use time and imaging the process of painting using algorithm.

In my works, I am concerned with the profound experience of abstract visual phenomenon in which the imagery has emotive impact rather than narrative meaning. Usually wordless and silent invisible experiences provoke a wide range of emotional responses that cannot always be put into words and are only possible to be expressed in art. Drawing on the ideas of the merging of digital painting, avant-garde film-making and sound cultures, my current work aims to craft immersive, interactive and 3D animated installation using digital image, seeking innovative convergence of art and technology to transform spaces into novel experiences.

Even as the works are imageless and non-representational, their geometry correlates to nature. Computer graphics are the basis of the process enhancing essence, animating deeper aesthetic experiences that these art works will offer. The major interest is the assimilation of the newly developing digital tools into the artistâ&#x20AC;&#x2122;s studio, layering images expressing the complexity of abstract imagery, combining the traditional paint media with under-printing and over-printing and advanced pre-coats generating both still imagery and a moving, emotive interpretation of space configurations.

Through an integrated design and fabrication practice, I am trying to create experimental, built environments to enhance and celebrate the potential for social interaction through sensation and physical engagement. To achieve these results, I work with novel image making methodologies, develop experimental animation and apply it towards architectural installation in unorthodox ways. In my art gallery installations, I hope to share an enthusiasm for emotive animation and tangible fabrication process as it relates to the built installation both physically and poetically. I let the properties, limitations, and site-specific scenarios associated with an image process guide my art, while developing methods to extend the intertwined boundaries of image aesthetics, physical potential of animation and digital code. Here painting is reassessed through the use of the new artistâ&#x20AC;&#x2122;s palette employing algorithm to be constructed into lifelike installations of natural phenomena in motion. The practice launched a neverending painting process, pattern than can go on indefinitely, is open ended, and suggestive of ceaseless coming into existence. From itsâ&#x20AC;&#x2122; beginnings, the abstract work was meant to represent something almost vague and intangible, like a feeling or spirituality, a means of reawakening the experiences and emotions in art. The starting

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WORKS

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WORKS

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ART IST PAL ETTE

THE RE-ASSESSMENT OF PAINTING MATERIALS Algorithm A step-by-step, problem-solving procedure, especially an established, recursive computational procedure for solving a problem in a finite number of steps.

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ARTIST PALETTE

Algorithm

Decomposition Gold

In the following few pages on view, are explorations of a newly developed artistic palette and algorithm brushes derived entirely from code. The generated images originally drew inspiration from science, nature and mystical thought. They question the primacy of representation and describe invisible forces and processes that lie behind nature and its ephemeral phenomena. The main goal was to crystallize that connection between natural arbitrary flux and spiritual existence. Following the rhythm of continuously moving unfolding and floating geometries endless process of painting evolves. Algorithm is by definition openended, in a state of flux and suggestive of perpetual potentiality, seriality, repetition, merging into a blurred field. These works are using these procedures, structures and processes, making insignificant traditional concept of integrated finished and framed paintings.

often independent of the author. As organic algorithmic brushes are growing and blending smoothly with one another, the images are spontaneous, expanding and assuming multifarious shapes. Self-generating painting is conceived again as an action fraught with risk, but leading, when successful, to the thrilling discovery of original and revelatory image. The main significance is not only on techniques employed but rather on the artist’s understanding of new digital means and radicality of the works that can be produced using algorithm. The technique is not merely mechanical method but is integral to aesthetic expression itself. Often symmetrically mirrored lavish kaleidoscopic imagery reflects characteristics of algorithm as comprehensible yet unpredictable descriptions of themselves. As such, it is in principle easily possible to articulate an infinite number of works. Through the simple methods behind the generation of this picture, there is always something mysterious and exciting about it.

The images started as simple drawings of elementary form, circle, square, triangle and elliptical structures. Light, color and formlessness are engaged in the repetition of certain geometric brushes and shapes marking the experimental and the infinite through reacquiring structures of linear pattern abstraction as a means to achieving the invisible and immaterial. Through machine ‘crafted’ occurrences, the marks whirled into complex dynamic patterns. Autonomous and independent expressions of algorithm had enabled development of spectacular pictures of chaotic geometry. Forces invoked were to be gathered and later articulated into painted digital stills or were to be moved in short animated clips. The idea of using automatic techniques of algorithms as a means to generate imagery, includes expressive needs parallel to risks like the ones Jacksons Pollock took as ‘action painter’ in abandoning traditional studio routines. The act of digital painting creates an equal collaboration between painter and machine that results in a set of rules and in an organizational model that once in motion produces something that is very

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ARTIST PALETTE

Natural System

Decomposition Gold

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ARTIST PALETTE

Natural System

Decomposition Red

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ARTIST PALETTE

Blue Brushes

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ARTIST PALETTE

Natural System

Decomposition Blue

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AB STRAC TION IN VISIBLE

Abstraction in Visible

is a series of visual explorations proposed for Singapore Cityscapes. The following photographs are not so much a representation of things as a presentation of time in space. The frozen cityscapeâ&#x20AC;&#x2122;s spatial reality frames and encloses the visual, by exploring, unfolding and anchoring the art in existing space.

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Singapore City Scapes, 2008, Singapore Photography: Quek Jia Liang

The field of abstract art investigations transcended from the artist’s studio into an urban landscape to create new aesthetic encounters through conjuring visionary objects and familiar environments in sitespecific settings of Singapore. Fascination with contemporary installation and architecture evoked a desire for renewing and elevating the existing sites through various art proposals and virtual renderings. Art works triggered and evoked new emotional responses to the given space, transforming urban and built into a more personalized interaction to contemplate. These virtual proposals are not meant to be manifest of the artist’s identity, or an idea or personal emotion rather an effort to heal and at same time exalt the given urban life landscape. Glamorous and non glamorous,- the places were transfigured into new visual experiences serving as harmonious meditative states of everyday metropolis life. Throughout the design process, digital prototyping was used for art visualizations of Public Art design proposals in Singapore’s various outdoor and indoor architectural settings.

Panoramic and wide-angle digital photography played a significant role in documenting numerous urban and architectural locations in Singapore. It was to be repurposed for virtual art visualizations. However panorama was not just used as a backdrop for virtual sculptures rather it had its profound effect on influencing choice of image, material and final art ideas visualized, thus contributing to their factual existence. Using the computer a simulated dimensional model of space was created, followed by a series of renderings for the deployment of individual pieces within that space. Photorealistic renderings and short ‘flythrough’ animations of compositions were done as a part of visualization. Autodesk® Maya® software was included to design, iterate, validate, and visualize art compositions digitally. When the digital print combines with traditional painted medium of what importance is the significance of the surface? The proposed visualizations and materialized works delved into an innovative approach toward image

digital paintings within virtual and real urban public spaces originated extraordinary art visualizations extending beyond traditional canvases. Working on an architectural scale created an even greater physical presence of digitally generated images. Once imagery is combined with outsized and multidimensional surfaces, the creative possibilities become vast and influence applications of new emerging technologies. Parallel with digital visualizations and prototyping experimenting with a wide range of numerous uncoated flexible and rigid substrates was possible with the help of specialized large format UV curable flatbed inkjet printers, - UV VUTEk ® QS2000 series and Mimaki JF Series, perfecting ultraviolet (UV) curable inks. A number of physical prototypes were test-printed using various printing substrates (rice paper, textiles & dye sublimation, textured canvas, metal, acrylic polycarbonate, Dibond).

creation methodologies, researching and integrating emotive and subjective abstract imagery in digital, traditional and non-traditional forms. Implementing the latest technologies in image creation works documented emotive spaces and impressions of Singapore to build illusions of three-dimensional creative vision; moving forward to using this imagery as a resource for more creative work that will be comprised of an exploration of manipulated surfaces and mixed media structures in site specific settings. Contemporary painting practice is not taking advantage of integrating traditional painting methods of abstract painting with available digital prototyping and printing devices to create high impact artworks in public spaces. Usually the outcome of digital painting is dull digital print that lacks the physical presence interest and excitement of traditional art forms. To avoid that the aim was to customize unusual materials and transferring digital images to absorbent, nonabsorbent and three-dimensional surfaces. Layering

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Singapore City Scapes: Marina Bay Digital Print, Detail, 106 x 24 cm Singapore, 2008 Photography: Quek Jia Liang

INTER NAL EX TER NAL 'Elixir of Redness’ is a part of a cycle exploring the natural phenomena, interrelationship and influence it has on our living space. It depends on existing architecture, counterbalancing it with the seamless mix of technology and image’s painterly aesthetic. Grand in scale and opalescent “Red Elixir” consists of modular transparent red voids that are changing its phenomena depending on the light and atmosphere. The light reflected of the transparent surface and present color creates new interference patterns thus giving form to the invisible. As elusive virtual “Elixir of Redness” enables us to see given space as infinite, dimensionless without form, and void. At the same time the differences between genuineness of location and intruding art are blurred as both of these are equally important in the process of conceptualizing art authenticity in desired locations.

Abstraction in Visible Public Art Proposal for Esplanade Exterior Natural Systems: Elixir of Redness, Digital Rendering 1100 x 227x 200 cm,14 panels each 2.27 x 1.60 x 0.008 m, variable Proposed materials: tempered glass, exposed U-channel with *concealed* ground mounting,Singapore, 2008 Digital Previsualizations and Modeling: Tan Cheng Quan Photography: Quek Jia Liang

INTER NAL EX TER NAL Abstraction in Visible Public Art Proposal for Esplanade Exterior Natural Systems: Elixir of Redness, Digital Rendering 14 panels 1100 x 227x 200 cm, 14 panels each 2.27 x 1.60 x 0.016 m,variable Tempered glass, exposed U-channel with *concealed* ground mounting, Singapore, 2008 Digital rendering and 3D Pre-visualizations: Tan Cheng Quan Photography: Quek Jia Liang

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Abstraction in Visible Public Art Proposal for Concourse Esplanade Natural Systems: Elixir of Redness Digital Rendering, 15 x 5 x 5 m 18 textiles screens each 2.27 x 1.60 x 0.008 m, variable Singapore, 2008 Digital rendering and previsualizations: Tan Cheng Quan

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Abstraction in Visible Exhibit Proposal for ADM Outer Gallery Internal External, Digital Rendering The Center of Creation and Blue Conjuctio Primal Atom: Ten Energy Whirls and Elixir of Gold Installation: digitally generated still images on UV VUTEk 速 QS2000 back-lit polycarbonate AVS technologies, 20 x 5 x 2.1m 14 panels each 2.27 x 1.00 x 0.008 m, variable Nanyang Technological University School of Art Design and Media, Singapore, 2009 Digital rendering and previsualizations: Tan Cheng Quan

INTER NAL EX TER NAL Abstraction in Visible Exhibit Proposal for ADM Inner Gallery Natural Systems: Elixir of Gold, Digital Rendering Installation: digitally generated still images for UV VUTEk 速 QS2000 back-lit polycarbonate AVS technologies, 2.27 x 11.20 x 0.008 m 14 panels each 2.27 x 1.60 x 0.008 m, variable Nanyang Technological University, School of Art Design and Media, 2009 Singapore Digital rendering and previsualizations: Tan Cheng Quan

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Art Installation Proposal Natural Systems: Elixir of Redness 7 suspended tempered glass screens and mirror 11.20 x 2.27 x 0.008 m, 7 screens each 2.27 x 1.60 x 0.008 m variable ADM Inner Gallery, Nanyang Technological University School of Art Design and Media, Singapore 2008 Digital Rendering and Previsualizations: Tan Cheng Quan

INTER NAL EX TER NAL Exhibit Proposal Japan Digital Rendering and pre-visualization Translucent fabric hangings 20 sq m International Contemporary Textile Art Centre- (KIT TAC) Gallery Gallery EX Kyoto, Japan, 2009

painting through the associated technologies devised to augment the execution of future creative designs and visualizations.

The above Gallery space in Kyoto Textile Center measured just over 12 sq meter. More than a dozen of previsualizations were made to explore the possibilities and creative ways of integrating existing large-scale artworks with the constraints of the limited space. In a series of digital planning and prototyping for this art installation in Japan, both 3D flythrough animation and the visualization of art objects were utilized either to model, to augment or to engage synthetic image with the given architectural space. As a result architectural space could easily be transformed and the painting transitioned from the 2D canvas surface into an architecturally integrated moving image. This new painting would to expend into space and onto a light translucent fabric. Whether spilling out on the floor, or hanging in space, by moving beyond restrictions of frontal picture frame its compelling immediacy challenges the ways that audiences look at art. Digital prototyping again underscored continuing investigation into convergence of digital technology and traditional painting methods. The analysis of

Digital Rendering and Previsualizations: Tan Cheng Quan

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Exhibit Proposal Japan Digital Rendering and pre-visualization Translucent fabric hangings 20 sq m International Contemporary Textile Art Centre- (KIT TAC)Gallery Gallery EX Kyoto, Japan, 2009 Digital Rendering and Previsualizations: Tan Cheng Quan

INTER NAL EX TER NAL Exhibit Proposal Digital Rendering and pre-visualization Translucent fabric hangings 20 sq m, International Contemporary Textile Art Centre- (KIT TAC), Gallery Gallery EX Kyoto, Japan, 2009 Digital Rendering and Previsualizations: Tan Cheng Quan The pieces were prototyped in relation to the Gallery siteâ&#x20AC;&#x2122;s architecture. Taking full advantage of the computer's ability to create motion and points of view that are not available by any other means a playful point of immersion created aesthetically engaging and inspiring experiences in the designing process. The paintings became autonomous and independent expressions and experienced physically in relationship to the viewerâ&#x20AC;&#x2122;s movements through the space.

EXI BITI ONS

â&#x20AC;&#x2DC;There is no aspect of life that does not reveal to us an infinity of the new and unexpected if we approach it with the knowledge that it is not exhausted by its visible aspect, that behind the visible there lies a whole world of the invisible, a world of comprehensible forces and relations beyond our present comprehension. The knowledge of the existence of the invisible world is the first key to it.â&#x20AC;&#x2122; Ouspensky

INTERNAL EXTERNAL

A solo exhibition by Ina Conradi Post-Museum, Singapore 13th Feb â&#x20AC;&#x201C; 8th Mar 2009

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Internal External Digital Rendering The Center of Creation, Blue Conjuctio, Elixir of Gold and Gold Conjunctio Digitally generated still images on UV VUTEk 速 QS2000 backlit polycarbonate 100 sq meters; 11 backlit panels, each panel 2.27x 1.00 x 0.008 m, variable Art Installation Post-Museum, Singapore, 2009 Digital Previsualizations and Modeling: Tan Cheng Quan

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Post-Museum Interior Digital prototype of the Post-Museum interior exhibit space was done initially to visualize and plan art installation virtually. Singapore 2009 Digital Previsualizations and Modeling Tan Cheng Quan

About Luminous Abstractions and Sacred Geometry

animals; the forms of crystals and natural objects, all of which are manifestations of the universal continuum. Since the earliest times, geometry has been inseparable from magic. Even the most archaic rock-scribings are geometrical in form. The complexities and abstract truth expressed by geometrical form could only be explained as reflections of the inner most truths of the worldâ&#x20AC;&#x2122;s being. Complex concepts could be transmitted from one to another by means of individual geometrical symbols or combination of them. The fusion of symbol and meaning in Hinduism esoteric ideas is expressed through use of basic but sacred geometric figures in architecture. This influenced the artwork planning for exhibit in Post-Museum. Sri Veeramakaliamman Hindu Temple has integrated conceptualizing expressions of natural systems and behaviors in its sacred architecture and organic abstract geometry of its interior patterns.

Several ideas are common to the world views of most myths: the universe is a single, living substance; mind and matter are one; all things evolve in dialectical oppositions, thus the universe comprises paired opposites (male- female, light-dark, vertical-horizontal, positive-negative); everything corresponds to a universal analogy, with things above as they are bellow. Imagination is real and self -realization can come by illumination, accident or an educed state: the epiphany is often suggested by heat, fire, or light. The ideas that underlie mystical beliefs are often augmented by illustrations that, because of the ineffable nature of ideas discussed, were abstract or emphasized with the use of symbols. Sacred geometry is inextricably linked with various myths and traditions. Thus sacred geometry treats not only the proportions of the geometrical figures obtained in classical manner, but the harmonic relations of the parts of human beings with one another; the structure of plants and

Internal External is a multilayered environment combining video projection, 3D computer animation

infinite. Exploring phenomenal nature of the space between the observer and the picture plane, between the viewer and the viewed, new emotive and tangible contemplative space-awareness is created. Enhanced by light and augmented through an increased scale, the works could be viewed as a vista from the very entrance into the exhibit space or even further from the street through the open door of Museum space; but it is at the point of entering into and moving across the field of luminous colors and patterns that the distance collapses as a kind of limitless depth and engulfs the viewer. From the visible external matrix drawn are invisible relational dynamics between things that could only be realized in abstract form, experiences that are wordless and silent, but nevertheless of verifiable and tangible pleasures. Installation thus fleshes out an experience of bliss, beautiful and consoling, perception as satisfaction, experience takes shape between object and viewer â&#x20AC;&#x201C; rather than dealing with mimesis, ideas, signs and symbols.

and space modifiable backlit digital still image. The traditional concept of painting as a surface and space integrated and limited by the frame is argued and contrasted with ambivalence between the mark and its support. Open-ended unframed painted surface maintains its separate existence and is only bounded by the gallery walls. The exhibition space is transformed into an intricate spatial environment consisting of tall backlit compositions that are aspiring to escape the frame and create unified visual field. Using dreams as a conceptual motif, and adopting simulated natural phenomena such as flow and growth, the work explores organic and natural design leading the viewer thorough the aesthetic impression of a dream like state sensibilities, feelings and experiences that go beyond language. Inundated with light, color and motion, works are visually translating invisible realities, ephemeral and ever-changing appearances of nature in flux. The overlapping and mirrored layers of complex imagery are engaging in the repetition of marking the void: experiential, the spiritual and

INTER NAL EX TER NAL DREAMS combines digital paintings and experimental animation, made as part of the current research at the School of Art Design and Media, at Nanyang Technological University Singapore, in an innovative approach toward image creation methodologies, research and the integration of emotive and subjective abstraction in digital, traditional and non-traditional forms. A kaleidoscopic journey into a cross-cultural exploration of imagery and sound, 'Dreams' is a dematerialization of objective reality and rules governed by a reality of expression in an emotive abstract experience.

DREAMS Video Projection, 4x4m variable 4:37 DVD + HD AVI + HD MOV Art Installation Internal External, Post-Museum Singapore, 2009 Photography: Quek Jia Liang Director: Ina Conradi Co-Director and producer: Mark Chavez Music: Philip Tan Vocal: Bhagya Murthy Animation & Editing: Tan Cheng Quan, Lam Yaocheng, Lim Yuan Wen IT Support: Teo Cheng Lim There are two main visual parts to the installation: one- the re-constructed museum interior using tall backlit compositions depicting hallucinogenic dream space, the other- the projected experimental animation at the back of the exhibition space mirroring the map of that dream universe.

In this project, Indian and Chinese culture motifs are being explored and transformed into flowing abstract forms to depict emotions and invisible inner states. The film production started as a monumental series of 3D abstract paintings. Using textures, colors and lights from sites in Singapore, algorithmic brushes were built to represent infinite expansiveness of dreamscapes. From this epic

scale and absorbing the entire cultural impact into the painting, focus was shifted on examining each section of painting on its own. Completing the pieceby-piece inspection, the film drifts back to a more distant position, from which the entire dreamscape painting now significantly transformed, is once more fully visible. The piece was initially inspired after a collaborative work titled Boundaries by acclaimed Indian choreographer and dancer Raka Maitra and musician Philip Tan performed at the Gallery Theatre, National Museum of Singapore as part of Xposition 'O' on August 17th 2007. Dreams, is the winner of the Prize of Effort for the Singapore Regional Award of the "10 th DigiCon6" contest hosted by TBS, Tokyo Broadcasting System, INC. Digicon 10 Singapore, Computer Graphic Animation Competition in October 2008. It was screened at IMI / ADM Demo-Graphics ISEA Conference /IMI NTU, Nanyang Technological University, School of Art Design and Media on 27th July 2008. It was part of an international juried show PIXELPOPS! 2008 exhibition at Krannert Art

Museum University of Illinois at Urbana-Champaign, USA (4th November 2008 - 4th January 2009). Dreams has been invited for submission to Melbourne and London International Animation Festivals 2009.

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EXHIBITIONS

Video Installation

DREAMS Video Projection 4x4m, variable 4:37 DVD + HD AVI + HD MOV Internal External, Post-Museum Singapore, 2009 Photography: Quek Jia Liang

INTERNAL EXTERNAL A SOLO EXHIBITION

Kyoto International Contemporary Textile Art Center Gallery Gallery Ex, 18th July - 1st Aug 2009

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EXHIBITION

‘The dreamwork is not simply more careless, more irrational, more forgetful and more incomplete than waking thought; it is completely different from it qualitatively and for that reason not immediately comparable with it. It does not think, calculate or judge, in any way at all; it restricts itself to giving things a new form…the dream above all has to evade censorship, and with that end in view the dreamwork makes use of displacement of physical intensities to the point of transvaluation of all physical values. The thoughts have to be reproduced exclusively or predominately in the material of visual and acoustic memory traces…’ Sigmund Freud The interpretation of Dreams, Standard edition, Vol. V, (1900;reprint London: Hogarth press, 1955), 507, 565–9.

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EXHIBITION

Natural Systems: Elixir of Gold Digitally generated still images on UV VUTEk 速 QS2000 back-lit polycarbonate AVS technologies 300 X 300 x 227cm, variable Art Installation Kyoto International Textile Center, Gallery Gallery Ex, Kyoto, Japan, 2009 Photography: Makoto Yano

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PL AT ES

1. Page 12-13

5. Page 24-25

9. Page 32-33

2. Page 18-19

6. Page 26-27

10. Page 36 -37

3. Page 20-21

Natural Systems: Decomposition of Red Detail, Digital Painting,118 x 84 cm

7. Page 28-29 Natural Systems: Conjuctio, Detail Digital Painting, 118 x 84 cm

11. Page 42-43

4. Page 22-23 Natural Systems: Decomposition of Gold Detail, Digital Painting, 118 x 84 cm

8. Page 30-31 Natural Systems: Transformations, Detail Digital Painting, 118 x 84 cm

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Natural Systems: Primal Atom, Ten energy whirls, Detail, Digital Painting, 118 x 84cm Natural Systems: Decomposition of Red Detail, Digital Painting, 118 x 84 cm

Natural Systems: Decomposition of Blue Detail, Digital Painting, 118 x 84cm Natural Systems: Decomposition of Gold & Blue, Detail, Digital Painting

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Natural Systems: Genesis Red Digital Painting, 236 x 168 cm Natural Systems: Primal Atom, Ten Energy Whirls,Detail, Digital Painting, 118 x 84 cm Natural Phenomena Detail, Digital Painting, 118 x 84 cm Natural Systems: Decompostition Red Detail, Digital Painting, 118 x 84 cm

PLATES

14. Page 54-55

16. Page 92-93

Blue Conjuctio, Digitally generated still images on UV VUTEk ® QS2000 backlit polycarbonate, Detail 2.27x 2.00 x 0.008m, variable, Art Installation Post-Museum, Singapore, 2009

19. Page 98-99 Gold Conjunctio, Digitally generated still images on UV VUTEk ® QS2000 backlit polycarbonate, Detail 2.27x 2.00 x 0.008m variable Art Installation Post-Museum Singapore, 2009

17. Page 94-95 Primal Atom: Ten Energy Whirls, Digitally generated still images on UV VUTEk ® QS2000 backlit polycarbonate, Detail 2.27x 2.00 x 0.008 m, variable, Art Installation PostMuseum, Singapore, 2009

20. Page 100-101 Natural Phenomena: Elixir of Gold, Digitally generated still images on UV VUTEk ® QS2000 backlit polycarbonate, Detail 2.27x 2.00 x 0.008m, variable, Art Installation PostMuseum, Singapore, 2009

18. Page 96-97

21. Page 108-109

Natural Systems: The Center of Creation Digital Painting, 236 x 168cm 15. Page 88-89 Art Installation Post-Museum: The Center of Creation, Blue Conjuctio, Primal Atom: Ten Energy Whirls, Elixir of Gold and Gold Conjunctio, Digitally generated still images on UV VUTEk ® QS2000 backlit polycarbonate, 100 sq meters; 11 backlit panels, each panel 2.27x 1.00 x 0.008m, variable Singapore 2009 Photography Quek Jia Liang 13. Page 90-91

Blue Conjuctio, Digitally generated still images on UV VUTEk ® QS2000 backlit polycarbonate, Detail 2.27x 2.00 x 0.008m variable, Art Installation Post-Museum Singapore, 2009

Primal Atom: Ten Energy Whirls, Digitally generated still images on UV VUTEk ® QS2000 backlit polycarbonate, Detail 2.27x 2.00 x 0.008 m, variable Art Installation Post-Museum, Singapore, 2009

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Art Installation Kyoto International Textile Center, Gallery Gallery Ex, Natural Systems: Elixir of Gold, Digitally generated still images on UV VUTEk ® Q-S2000 back-lit polycarbonate AVS technologies, 300 X 300 x 227cm, Kyoto, Japan, 2009 Photography: Makoto Yano

ART IST BIO GRA PHY

Ina Conradi Born in Belgrade, Serbia (Slovenia/USA/Singapore) Ina Conradi has been experimenting for the last 25 years with large-scale mixed-media art. Ina received her B.F.A. in Textile Design from the University of Belgrade Faculty of Applied Arts, Serbia in 1985. Her early work, hand woven Gobelin style tapestries, enabled her to pursue public commissions for large architectural spaces and led her abroad to continue her studies at the University of California at Los Angeles where she received M.F.A. in Art in 1989. Labour-intensive hand woven tapestry become fully sculptural and monumental in scale. Continuing studies in Tokyo as a Japan Foundation Fellow 1991-1992, her research delved into Traditional and Contemporary Japanese Fibre and Textile Art at Tokyo National University of Fine Arts and Music and Kyoto Seika College. Pieces became recognized as soft pliable sculptures deployed in space in the form of porticoes of rounded counter-point gold and red masse and were exhibited in Japan and Europe. In the late nineties, with the surge in digital tools works, Ina made the crossover into digital painting and new media methodologies. In collaboration with CG artist Mark Chavez, (Dreamworks FA), her works explored different software packages used in visual effects industry to create high impact imagery for virtual site specific installations, frequently on a scale that dwarfs the observer. As result of this exploration, the definition of site specific was radicalized and extended to virtually transforming non- glamorous and insignificant city spaces into alluring attractions. Apparent was the influence of non-physical components of image. Works were articulated through technologies existing in autostereoscopic 3D displays and flatpanel solutions using lenticular lenses, where light emitting imagery was to be experienced as a tangible matter. Asst Prof. Ina Conradi is a member of Singapore-China Association for Advancement of Science and Technology, (â&#x20AC;&#x153;SCAASTâ&#x20AC;?), Union of Slovene Fine Art Arts Association, (ZDSLU), and is Japan Foundation Fellow. She has been teaching at California State University Long Beach, LASALLE College of the Arts and since 2007 and in the School of Art Design and Media at Nanyang Technological University Singapore. Current research undertaken at the School of Art Design and Media is continuing into exploring image-making methodologies on a larger scale creating illusions that transform the viewer's perception of actual space in a synthesis of the real and virtual. Drawing on the ideas of the merge of digital painting and avant-garde filmmaking and sound cultures, her current work aims to craft meaningful, immersive, interactive and 3D animated installation using digital image, seeking innovative convergence of art and technology to transform spaces into novel experiences. Her research explores: 1) experimental and immersive abstract computer animation, 2) responsive and reactive painted surfaces with imagery integrating experimental 3D animation, 3) oversized image creation using algorithmic paint strokes, 4) high resolution computer rendering technique, 5) advanced print prototyping and finishing technique.

BIOGRAPHY

Exhibitions/Creative Work (one person shows indicated by*) 2009

* Ina Conradi, Tapestry Installation, GalleryGallery, Kyoto, Japan, 1 – 8 August 1992

2000 – 2007 Boundaries, Xposition ‘O’ Contemporary Dance Fiesta 2007, Gallery Theatre, National Museum of Singapore, 15 – 23 August 2007

Snap to Grid 09, Los Angeles Center For Digital Art, Los Angeles, USA 12 November – 05 December 2009

* 12 Annual Discovery Tour/ Celebrating a Dozen Years of Art, The Arroyo Arts Collective, Los Angeles 21 November 2004 –January 2005

*A solo exhibition by Ina Conradi, Kyoto International Contemporary Textile Art Centre,(KIT TAC), GGEX Kyoto, Japan Curator Keiko Kawashima, Director Kyoto International Contemporary Textile Art Center 18 July – 31 August 2009

Byte-Sized, Digital Miniatures, Viento y Aqua Gallery, Supported by SIGGRAPH Subcommittee, Los Angeles ACM SIGGRAPH, and The Public Corporation for the Arts and The City Of Long Beach, Long Beach, USA, 8 August – 4 September 2004

DISCOVER URECA@NTU, AY09-10 URECA

NTU Nanyang Auditorium Exhibition Hall, Singapore 14 March 2009

* Internal External, A solo exhibition by Ina Conradi, Post-Museum, independent cultural and social space a ground-up project initiated by Singaporean curatorial team p-10, Singapore, 13 February – 3 March 2009

PIXELPOPS! 2008

Collaborative Advanced Navigation Virtual Art Studio, Krannert Art Museum University of Illinois at UrbanaChampaign, USA, 4 November 2008 – 4 January 2009 Computer Graphic Animation Competition: 10th Anniversary Digicon 6 Singapore, Media Development Authority Singapore, Genexis Theatre, Fusionopolis, Singapore 24 October 2008 Snap to Grid 08, Los Angeles Center For Digital Art, Los Angeles, USA, 9 October – 1 November 2008 Digital Fringe-The Age Melbourne Fringe Festival, Film Victoria, Creative Commons, Melbourne, Australia 24 September – 12 October 2008

Faculty Biennial, University Art Museum Long Beach, CSULB, Long Beach, USA, 19 November – 15 December

D-ART 2008, 5th International Conference Computer Graphics, Imaging and Visualization, CGIV 08, University Sains Malaysia (USM) Penang, Malaysia 25 – 28 August 2008

D-ART 2008, 12th International Conference Information Visualization iV 08, South Bank University London, England, 8 – 11 July 2008

1986 – 1991 * Art of Tapestry, Kompas Gallery [Umetnost Tapiserije,Galerija Kompas], Novo Mesto, Slovenia, Ljubljana, Europe, March 1991 *Tapestry and Space, Kompas Gallery [Tapiserija in Prostor, Galerija Kompas], Ljubljana, Slovenia, Europe, 10 January-5 February 1990 Overtures, The IMC Gallery, Irvine, USA 27 September – 28 December 1990

2002

1991 – 2000 Ina E. Conradi Chavez, Austrotel Gallery [Galerija Austrotel], Ljubljana, Slovenia, Europe, 10 June -15 Septembre 1997 Permanent Exhibit of City of Ljubljana, Municipal Gallery, [Stalna Likovna Razstava Mesta Ljubljane, Mestna Galerija], Ljubljana, Slovenia, Europe, April 1996 * Japanese Myths Smelt Gallery, [Japonski Miti, Galerija Smelt] Ljubljana, Slovenia, Europe, 13 March – 13 April 1995 * Japanese Myths, Art Gallery Maribor – Exhibition Hall Rotovz [Japonski Miti, Razstavni Salon Rotovz Maribor] Slovenia, Europe, 2 – 28 February 1995 * Japan Love, Painting and Tapestry, Kompas Gallery [Japonske Ljubezni, Slike in Tapiserije, Galerija Kompas], Ljubljana, Slovenia, Europe, 16 February – 12 March 1994 DOS Designers Society of Slovenia Members Annual

Art Exhibit, International Centre of Graphic Arts Mansion Tivoli, [Letna Razstava Drustva Oblikovalcev Slovenije, Mednarodni Graficni Likovni Center Grad Tivoli], Ljubljana, Slovenia, Europe, December 1994

IMI/ADM Demo-Graphics, ISEA Conference, IMI NTU &

Nanyang Technological University, School of Art Design and Media, Singapore, ART VIDEO screening of Dreams /3D animation, 27 August 2008

* Ina E. Conradi /Tapestry, Sembikiya Gallery, Tokyo, Japan, 24 – 29 August 1992

2008 Pameran Poskad '08, House at Dempsey Rd, Singapore, 6 November – 20 December 2008

BIOGRAPHY

DOS Designers Society of Slovenia, Members Annual Exhibit, Jakopic Gallery, [Letna Razstava Drustva Oblikovalcev Slovenije], Galerija Jakopic, Ljubljana, Slovenia, Europe, November – December 1993 DOS Designers Society of Slovenia / Members Annual Exhibit, Jakopic Gallery [Letna Razstava Drustva Oblikovalcev Slovenije Jakopic Galerija], Ljubljana, Slovenia, Europe, December 1992.

International Textile Art, Suminoe Interior Plaza, Osaka, Japan, 10 – 23 October 1992

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* Open Studio, Municipal Gallery Ljubljana [Odprti Atelje, Mestna Galerija Ljubljana], Ljubljana, Slovenia, Europe 21 November – 21 December 1989 M&M, MFA Thesis Exhibit,UCLA Wight Art Gallery,

University of California at Los Angeles, Los Angeles, USA, June 1989 Eine Ausstellung in der Galerie der Bayerischen Landesbank [Slovenian Contemporary Art Bayerischen Landesbank Munchen,] Munich, Germany, July 8- August 8 1988 Six Artist From Yugoslavia, Design Center Art Gallery, Los Angeles, June 26 -July 24 1987 Equrna at LA Art Fair, Convention Center, Los Angeles, June, 1988 DOS Designers Society of Slovenia Members Anual Exhibit, Equrna Gallery [Razstava Oblikovalcev Galerija Equrna] Ljubljana, Slovenia, Europe, December 1986 Yugoslav Days in Jordan , Hotel Jerusalem Frantel, Aman, Jordan, 15 -23 November 1986 Nature, Man, Environment, Ljubljanska Banka Gallery [Priroda, Covek, Sredina,Galerija Ljubljanske Banke], Beograd, Serbia, March 25- April 1986 *Textile Painter, Gallery Sloveniales [Slikar Tekstila, Galerija Slovenijales], Ljubljana, Slovenia, Europe, Jan.21-Feb.12, 1986 Biennial Exhibit -Yugoslav Female Artists, Gallery of Fine Arts Slovenj Gradec,[Bienale del jugoslovanskih likovnih umetnic, Galerija Likovnih Umetnosti Slovenj Gradec], Slovenj Gradec, Slovenia, Europe, September 1986

Research Related Events/ Conferences/ Publications ISEA 2009, The 15th International Symposium on Electronic Art, Mark Chavez, Ina Conradi, Liu Linyi “Tracking Emotions, Cinematics and Narratives: Creating an Archetypal Character Based Experience,” University of Ulster, Northern Ireland 23 August – 1 September 2009 CGiV09 - 6th International Conference Computer Graphics,

Imaging and Visualization Book of Abstract: Ina Conradi 1)“ Digital Imaging in Singapore: The Integration of digital imagery with traditional art media and techniques for site specific architectural, urban and landscape settings of Singapore,” 2)“Painting using experimental animation,” Tianjin University, Tianjin, China, 11 – 14 August 2009 13th International Conference on Information Visualization IV09, Ina Conradi “Internal/External Digital Art Visualization in Singapore” Pompeu Fabra University (UPF), Barcelona, Spain, 14 – 17 July 2009

ADM Monthly Research Sharing Series, Presenters: Ina Conradi & Peter Chen, Respondents: Paul Kohl & Danne Ojeda,” School of Art Design and Media, NTU, Singapore, 23 April 2009 Artist [Presentation] A Talk by Ina Conradi Post-Museum, Singapore, 25 February 2009 Farming Ideas, Seeding Collaborations-Workshop 2008 Paper: “Reconstituting Image and Place,” NTU Institute of Media Innovation and Leaning Science Lab, NEC Nanyang Technological University, Singapore, 29 August 2008 IMI/ADM Demo-Graphics ISEA Conference, Art Video screening presenter, IMI NTU,

Nanyang Technological University School of Art Design and Media, Singapore, 27 July 2008

Computer Graphics, Imaging and Visualization, CGIV 08 D-ART 2008, 5th International Conference, University Sains Malaysia (USM) Penang, Malaysia, 25 – 28 August 2008 12th International Conference Information Visualization iV 08, D-ART 2008, South Bank University London, England, 8 – 11 July 2008

The NTU International Workshop on IDM Research Singapore, Invited Participant, Nanyang Executive Center Nanyang Technological University, 29 – 30 April 2008 Institute for Media Innovation & NTU Internal Forum on IDM research, (9_IDM Forum) Research Abstract Presentation, Nanyang Executive Center, Nanyang Technological University, Singapore 13 – 14 March 2008

Institute of Media Innovation and Leaning Science Lab NEC Nanyang Technological University, Singapore, PRESENTER Paper Titled:”Reconstituting Image and Place” 29th August 2008 IMI / ADM Demo-Graphics (Dreams /3D animation), ISEA Conference /IMI NTU, Nanyang Technological University School of Art, Design and Media, 27 July 2008 Collaboration with NTU School of Mechanical and Aerospace Engineering and Fashion Institute of Singapore, LASALLE, A-P Chen I-Ming, ASTAR project on smart suit Entertainment Robots and Body Computing: Toward Interactive Media: The Role of Vision and Robotics

Selected Bibliography / Radio / TV / Online and Press Release http://www.mobtv.sg/channel/channelu.aspx, Internal External Installation in Singapore as promo for U channel episode highlight the various facets of Singapore's wide-ranging art and media industry, such as the film, broadcast, advertising, animation and gaming industr, April – May2008 http://www.post-museum.org/images.html Images of Post-Museum, 5 March 2009 http://www.motionelements.com/blog/artists/393, Art Profile Ina Conradi, Motion Elements Web Site an online platform post-production houses, 2D/3D animators, motion, graphics designers and creatives in the media industry, 16 December 2008 http://www.poppingpixels.org/2008 asp PIXELPOPS! 2008 Collaborative Advanced Navigation Virtual Art Studio, Krannert Art Museum at the University of Illinois at Urbana-Champaign, University of Illinois 4 November 2008 http://digitalfringe.com.au/ user/795, Digital Fringe— The Age Melbourne Fringe Festival, Film Victoria, Creative Commons, 30 September – 12 October 2008 http://www.graphicslink.co.uk/DART/D-ART%202008/ web/artists/Ina.html, Online Digital Art Gallery D-ART 2008 for the 12th International Conference Information Visualisation iV 08, South Bank University London, England, 8 – 11 July 2008 Online Digital Art Gallery D-ART 2008 and 5th International Conference, Computer Graphics, Imaging and Visualization, CGIV 08 Universiti Sains Malaysia (USM) Penang, Malaysia, 25 – 28 August 2008 http://www.xposition-o.com/po_rm.html, Dance without Boundaries, by June Cheong, Arts Reporter, The Straits Time, 18 August 2007

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12th Anniversary Discovery Tour Press Release, press@ arroyoartscollective, 2004

Putting Byte in their creativity Shirle Gottlieb, U_Press Telegram, 13 August 2004 Toasting Slovenia on seven independentyears, Mark Ryavec, Prosveta, Los Angeles, 26 August 1998 Zadnji dan za ogled in nakup Divje Obale, To ulje je podarila svetovljanska slikaraka Ina E. Conradi ChavezDrazba za Dolores Novak, Delo Ljubljana, 12 March 1997 Divja Obala Ina E. Conradi-Chavez Sklad Dobro Delo, Nedeljski Snopic, 9 March 1997 Stalna Zbirka Ljubljane, V Mestni Galeriji so odprli stalno zbirko_ Ze na zacetku 134 stvaritev 59 avtorjev, Saso Schrott, Novice, Ljubljana, 25 April 1996 Ena vstopnica za tri oglede, danes bodo v Trnkoczyjevi hisi pokazali stalno zbirko del 59 slovenskih avtrorjev, Darinka Kladnik, Kultura/Dnevnik, Ljubljana, 23 April 1996 Tapiserija kot Skulptura, Albina Podbevsek, Jana, Ljubljana, 1996 V Galeriji Smelt, Tapiserije Ine Conradi, Maja Krzisnik, Delo, Ljubljana, 28 April 1995 Conradijeva o Japonski Umetnosti, Kultura Delo, Ljubljana, 15 March 1995 Vtis Brezteznosti, Ina E. Conradi: Japonski Miti, Razstavni Salon Rotovz, Marjeta Ciglencki, 17 March 1995 Pred Otvoritvijo Nove Razstave v Rotovzu, Tapiserije Ine E. Conradi, M.K. Vecer, Maribor, 13 March 1995 Japonski Miti /Ob Razstavi Tapiserij in Slik Ine Conradi V Rotovzu, M.K. Mariborski Vecer, Maribor 7 March 1995 V Galeriji Murska Sobota 'Stkane Slike' Marike Danc Roth, Franc Obal, Delo, Ljubljana, 4 March 1995 Vzhodno-zahodne tapiserije, Kultura Delo, Ljubljana, Zenja Leiler, 26 February 1994 Stekleni babilonski stolp na savskem bregu, Bogi Pretnar, Delo, Ljubljana, 15 September 1993 Shinbun, Kyoto, Japan, 8 March 1992

BIOGRAPHY Union of Slovene Fine Arts Associations, (ZDSLU) Tokyo Shinbun,Tokyo, Japan, 5 September 1992 Kritike in Ocene, Ob razstavi Ine E. Conradi v Galeriji Kompas, Tapiserija in porstor, Franc Zalar, Dnevnik, Ljubljana, 17 January 1991 Kompas Art 90, Peter Krecic, Ljubljana, 6 December 1990 Tapiserije Ina E. Conradi, Delo, December 1989 In Discreto, Ina E. Conradi Slikarka, Marjan Raztresen, Telex, Ljubljana, 30 November 1989

Academic Qualifications

Commissions / Collections

Japan Foundation Fellowship Program, Tokyo and Kyoto, Japan, 1991 – 1992

World Trade Center, Ljubljana, Slovenia, Europe

Ryosuke Honda, Honda Giken CO, ITD, Tokyo, Japan

Kyoto Seika College of Art, Kyoto, Japan, 1991 – 1992

Hyundai Salon, Ljubljana, Slovenia, Europe

M.F.A. in Art, University of California at Los Angeles, Los Angeles, 1989

Dom Upokojencev Bezigrad, Ljubljana, Slovenia

B.F.A. in Textile Design, University of Belgrade, Faculty of Applied Arts, Belgrade, Yugoslavia, 1985

Obnovljen Hotel Kompas v Mostu na Soci, Reporter, Ljubljana, November 1986 Zgledna Tkalska Vescina,Maja Krulc, Delo, Ljubljana 9 January 1986 Ljubezenski odnos z materialom, Ina Conradi mlada akademska slikarka tekstila, Z.Z. Telex, Ljubljana January 1986 Beograd: Zajednicka izlozba Ine Conradi I Moma Vukovica: Priroda Covek Sredina, Olivera Jovanovic, Ljubljanska Banka Casopis, Beograd, April – May 1986 Razstava Tapiserij v Galeriji Emonska Vrata, M.R. Delo, Ljubljana, 26 December 1985

Full listing of Articles (catalogue essays under shows in curatorial section) Tkani In pleteni Objekti, Ksenija Baraga, Eta Sadar Breznik, Ina Conradi Chavez, Galerija ULUPUH, Maja Krzisnik, 5 – 19 September 1995 Kod je kdo za Slovence Who’s Who for Slovenia, Ivan Kreft, Anamarija Slabe, Darja Tebernik, Ljubljana : FAGO 1993

Mlada Pota, Likovna Oprema Literarne Priloge Tednika Mladina, urednik priloge Blaz Ogorevc, 9 May 1986

Bayerische Landesbank, Munchen, Germany, Europe Ljubljanska Banka, Kopar, Slovenia, Europe Smelt, Ljubljana, Slovenia, Europe

Slovenski Likovniki v Munchnu, Delo, O.N. Ljubljana,

26 July 1988

World Trade Bank, Moscow, Russia

Tokyo National University Of Fine Arts and Music, Tokyo, September, November 1991

Hotel Slon, Ljubljana, Slovenia, Europe

Employment History Assistant Professor, School of Art Design and Media, Singapore, August 2007 till present Lecturer LASALLE-SIA College of The Arts, Design, Fashion Design Programme, Singapore, 2006 – July 2007 Art Teacher, Ribet Academy College Preparatory School, Los Angeles, 2003 – 2005

Kompas Holydays, Ljubljana Slovenia Europe Hotel Kompas, Ljubljana, Slovenia, Europe Hotel Kompas, Most na Soci, Slovenia, Europe Hotel Kompas, Slovenj Gradec, Slovenia, Europe Hotel Murska Sobota, Murska Sobota, Slovenia, Europe

Lecturer, Fine Art Department, California State University Long Beach, 2000 – 2003

MURA-European Fashion Design, Murska Sobota, Slovenia, Europe

Teaching Associate, Department of Design, UCLA, Los Angeles, 1988 – 1989

Triglav Insurance Company, Murska Sobota, Slovenia, Europe

Past Awards and Research 'Dreams' the winner of the Prize of Effort for the Singapore Regional Award of the "10th DigiCon6" contest hosted by TBS, Tokyo Broadcasting System, INC. Digicon 10 Singapore, Computer Graphic Animation Competition 6 October 2008 Japan Foundation Fellowship Program Grant, Kyoto, Japan, 1991 – 1992 Research Grant UCLA, Los Angeles, 1989 Anderson Graduate and Post-Doctoral Award, UCLA, Los Angeles, 1988

Professional Memberships Singapore-China Association for Advancement of Science and Technology, (“SCAAST”), 2010 The Japan Foundation Fellow, 1991 until present

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CRE DITS

CREDITS

Special thanks to the following contributors who have contributed in the making in one way or another.

Mark Chavez (USA)

Bhagya Murthy (Singapore/India)

Animator/ CGI Artist Mark is an animation industry professional that has joined academia to experiment with new media technologies. His professional work spans many years with the first being executed in 1980, a motion billboard displayed on the Playboy Building in Hollywood, California. It encompassed the creation of animated characters projected in laser light. Among other early work, executed in 1983 and still on display are the historic leaders of the Old South charging into fading Glory, laser light projected onto huge carvings on the side of the granite mountain at Stone Mountain State Park, Georgia. It has been credited in the Guiness Book of World Records as the largest laser animated projection in the world. Other experimental laser animated work was shown at rock concerts, theme parks, corporate presentations and during the 1984 Summer Olympics on the side of the Federal Building in Westwood, California. His professional experience includes work for interactive media, broadcast television and console games and feature films including seven years of production work integrating 3-D with 2-D animation for Dreamworks Feature Animation. While at Rhythm and Hues he created photorealistic visual effects for many major feature films; the latest project being the academy award for special effects nominated film, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. Mark's academic research encompasses animation theory and practice. The scope of his work includes the creation of virtual and physical animated artifacts resulting in films and interactive experiences.

Vocalist Born in India to a traditional musiciansâ&#x20AC;&#x2122; family, Bhagya Murthy began to study Karnatic Music at a very early age and graduated from Bangalore University Faculty of Arts. Bhagya furthered her advance training under the eminent teacher Sri. M.Prabhakar and became an artiste of All India Radio. Bhagya has sung for various forms of dances, dance dramas and music concerts in Singapore and has become popular in Singapore Radio & Television. To date, she has performed as the main vocalist in more than 150 Bharathanatyam dance debuts with her melodious voice.

Joshua Tan (Singapore) Animator/CGI Artist Joshua is currently pursuing his Bachelor of Fine Arts in Animation in School of Art, Design and Media at Nanyang Technological U n i ve r s i t y a n d wo r k i n g a s re s e a rc h a s s i s t a n t . H e i s i n te re s te d i n exploring various kinds of animation, video and other new media projects. Raka Maitra (Singapore/India) Choreographer/Dancer Raka Maitra explores different dimensions of Indian contemporary dance, the creation of movements from Odissi and Chhua under the mentorship of Sardon W. Kusumo, as well as research on how the different martial art forms in India developed into stylized dance forms. She also continues her Odissi training under Smt. Madhavi Mudgal and Daksha Mashruwala. Raka received the Shringarmai, a national level award, for Odissi from the Sur Shringar Sampad in Mumbai in 1999, and has been featured in many important festivals around the world, such as the Mystique Of India festival in Washington, the 2nd International Odissi festivalin Washington, Nrityanjali in Kiev, the India Festival at Salamanca, the Jhankar Festival in Virginia, the Cahaya Sutra in Kuala Lumpur, and the India Festival in Sao Paolo. Philip Tan (Singapore) Composer/Arranger/Keyboardist/Percussionist Philip Tan, a critically acclaimed musician/composer/performer/educator/music-consultant, has been dedicated to his craft for the last decade. Philip defies pigeon-holing (classical symphony, percussion, fusion, ethnic, electronic, jazz), creating works that are aesthetically adventurous and entertaining. He pushes the boundaries of 'live music' to new heights with his powerful on-stage antics that fuse theatre, drama, dance, performance-art and even sculpture (with his eco-friendly home-made 'instruments'). His collaborations with film and art-installation are showcased internationally in film festivals and biennales. His works have been performed and presented with great credits in many parts of Europe, USA, and Asia. In 2003 and 2005, Philip received the Life! Theatreâ&#x20AC;&#x2122;s Best Sound Award for his contribution to theatre music composition. He is currently the Composer-in-residence of the Singapore Wind Symphony Percussion Ensemble.

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IMPRINT

All rights reserved. No part of this publication may be reproduced, stored in a rtrieval system or transmitted in any form by any means, electronic, mechanical, photocopying or otherwise without prior written permission of the editor and artist. Copyright ÂŠ Ina Conradi WWW.inaconradi.com Published on the occasion of the completion of ACADEMIC RESEARCH FUND (AcRF) Tier 1, by Ministry of Education (MOE), Reference Number RG105/10: Digital Imaging in Singapore: the Integration of Digital Imagery with Traditional Art Media and Techniques for Site Specific Architectural, Urban and Landscape Settings of Singapore, February 2010, Singapore Nanyang Technological University, School of Art Design and Media, 81 Nanyang Drive, Level 4-Room 32, Singapore 637458 Published 10 February 2010 ISBN: National Library Singapore Editor: Jayapriya Vasudevan

Book Design Joanne Pang Rui Yun Digital prototyping and pre-visualizations Joshua Tan Cheng Quan

Photography Quek Jia Liang Makoto Yano Pronted in Singapore

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