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Paul Higham
updated: 12/30/2010
website: www.datasculpture.net
 
   
 
 
     
 
Artwork Title
art-medium
art-year
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Aeolian Equation Series
Aeolian Equation Series
Aeolian Equation Series
Aeolian Equation Series
Aeolian Equation Series
Aeolian Equation Series
Synthesizing Beethoven
Synthesizing Beethoven : Process
Rummy
The Geometry of Altruism: Functional MRI Data
The Geometry of Altruism: Functional MRI Data
The Shape of Poverty
 
 
Portfolio Keywords:  abstract, conceptual, technology, systems, science, mapping, pattern, geometric, historical, information
 
 
Aeolian Equation Series by Paul Higham
Aeolian Equation Series
Digtial Data Print
2004
40 " x  30 " 
Aeolian Equation Series by Paul Higham
Aeolian Equation Series
Digtial Data Print
2004
40 " x  30 " 
Aeolian Equation Series by Paul Higham
Aeolian Equation Series
Digtial Data Print
2004
40" x  30" 
Aeolian Equation Series by Paul Higham
Aeolian Equation Series
Digtial Data Print
2004
40 " x  30 " 
Aeolian Equation Series by Paul Higham
Aeolian Equation Series
Digtial Data Print
2004
40" x  30" 
Aeolian Equation Series by Paul Higham
Aeolian Equation Series
Digtial Data Print
2004
40" x  30" 
Synthesizing Beethoven by Paul Higham
Synthesizing Beethoven
CNC Drawing, Pen on Archival Paper
2009
40 " x  30 " 
Synthesizing Beethoven : Process by Paul Higham
Synthesizing Beethoven : Process
CNC Drawing, Pen on Archival Paper
2009
40 " x  30 " 
Rummy by Paul Higham
Rummy
Digital Data Print
2006
30" x  20" 
The Geometry of Altruism: Functional MRI Data by Paul Higham
The Geometry of Altruism: Functional MRI Data
Realtime Drawing displayed on Monitors
2009
Dimensions variable
The Geometry of Altruism: Functional MRI Data  by Paul Higham
The Geometry of Altruism: Functional MRI Data
Realtime Drawing displayed on Monitors
2009
Dimensions variable
The Shape of Poverty by Paul Higham
The Shape of Poverty
Digital Data Print
2006
40" x  30" 

Artist Statement

Scottish Artist, Paul Higham has used computational technology in his art for over 30 years. Since the early 70s whilst studying at Goldsmiths College of Art London University, his endeavor has remained consistent as such to propagate a new form of art based on self organizing theories of artificial life.  In the mid 90s he developed  ‘DATASCULPTURE’ ; a way of creating form by using information theory, heuristics and realtime data mining.

These Data driven artworks deal with the commodification of information and dynamics of data itself. By harvesting grains of data from digital streams mined from population in real time they reveal organicity, hysteresis & turbulence within our culture showing the flux of societal transformations such as the freeze and crash of the dollar.

The work represents an arrow in time: a romance between a measure of irreversibility and uncertainty as demonstrated by such laws as govern thermodynamics which I believe are remarkably contiguous with entropy and information theory.

When I retrieve real world data from sources such as the Statue of Liberty, The Texts of Malthus, Dow Jones Index, Gold Futures, as well as GPS, Weather & Satellite streams I synthesize them with coding & genetic algorithms, perturb them with virus & noise in order to generate automata in series thus creating new vectoral forms, a process I call 'Autotecture' producing works I refer to as ‘Data Sculpture’: As form follows function.

Works are output as objects through cnc/rapid prototype technology or as flat maps. The works are shown in different states as data sculpture & data sonification or left in their real time evolving virtual state as installations and projections.

Artist Bio / CV

Scottish Artist, Paul Higham has used computational technology in his art for over 30 years. Since the early 70s whilst studying at Goldsmiths College of Art London University, his endeavor has remained consistent as such to propagate a new form of art based on self organizing theories of artificial life.  In the mid 90s he developed ‘DATASCULPTURE’ ; a way of creating form by using information theory, heuristics and realtime data mining.

He remains a pioneer of computers in CNC and Rapid Prototype technology since working with mainframe computers at Middlesex Poly in 1986. He continues to utilize RP and CNC processes to make physical ‘Data Sculpture’ as well as drawings, performance and interactive works for realtime, web and installations. 

Education

1971                 Liverpool School of Art, UK.

1973-77            Goldsmiths School of Art, London, UK.

1995                 Prosolvia International, VR & real time simulation.

Recent Research Residencies

The Zeppelin Museum, Germany, Headlands, Salem Art Works, School of the Art Institute of Chicago, Cranbrook Academy of Art, New York Institute of Technology, Santa Fe Art Institute and The Babbage Institute, MN.

Advanced Research Lab Residencies

1996-99            International Research Fellow in Electronic Arts, University of Minnesota.

1996                 Stratasys Rapid Prototype Corporation, MN.

1998                 Prosolvia International Sweden/USAVR Simulations Research Development Team. MN, USA.

1994                 Resident Artist at the Human Factors Virtual Reality Lab and the Advanced Visualization Lab at the University of Minnesota. 

Selected Exhibitions 2005-2010

The Dowd Gallery , NY

NYIT Gallery, Manhattan, NY

The Neue Museum, Salem Castle, Germany

The Palais de Beux Arts, Paris

Museum of Modern Art, Shanghia, China

Mass Mocca, USA

Maire du Vie, Paris

Rodeo Gallery, Headlands, CA

Sculpture Key West, Florida

Smack Mellon, Brooklyn, NY

The International Rapid Prototyping Sculpture Exhibition: Austin, New York, Manchester, Houston, Chicago, Philadelphia, Cincinnati, Fullerton Art Museum, and The Digital Art Gallery  DAKART, Arts Multimedia in Senegal, Africa.