Rachel Wolfson


Saturday, June 27th, 2015


“The scanning software used to generate 3D models frequently overcorrects or misunderstands its source material. These models have a blank, dimensional form that is overlaid with parsed selections of photographic information known as texture maps. Pulling these texture maps out of the software, I reinterpret them with a focus on the hand and process of painting as a means to counteract digital benign neglect.

Although the computer can be unknowingly careless, painting is a traditional practice imbued with a sense of authenticity and autonomy. In philosophy this quality is described as the aura. Each painting acts as an intervention – eventually returning to the software to replace the original photographic texture maps and coalesce over these 3D objects. The freshly textured form becomes a print of this painted yet digitally rendered still life.

While the render takes form as a print and is visible from only one perspective, as a digital file it exists in three dimensions. These texture maps contain photographic information for all possible perspectives of the 3D scene. In appropriating them, every potential viewpoint has been painted. The labor of painting becomes an act of observance and intervention.”


Wolfson (b. 1992, Florida) is an artist and writer in San Francisco. She researches culture, technology, and medicine - often making work about how these fields intersect and influence one another.