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Nowadays 3D graphic software and Internet offer practitioners greater mobility in both the development and the delivery of their artwork. Furthermore, the diverse web-based social media presents unlimited and various spaces to facilitate artists in the exchange of creative knowledge, it enables them to collaborate on their projects with external connections – audience, specialists, etc.
Within the analogue holography art practice, there is a primary lack of interface, or, in other words, it cannot utilise any digital creative tools. 3D printing makes it possible to bridge the gap between cyber space and the holographic world; even more so, as this emerging technique also becomes a platform, which can connect computational data and light information.
The application of 3D printing in contemporary art will reshape the process of creation, as well as the form of visual narrative itself. New technologies continually and increasingly involve the projection of another artistic dimension, and the term “visual” embarks on challenging the generally accepted notion of understanding art and interacting with it.
As new pathways of practice are established, it will take years to build a complete understanding of this medium in order to be able to take a full advantage of the benefits its use offers. This paper is aimed at looking for the potential new ways of artistic expression, deriving from the interrelation between analogue holography and 3D printing. It will also attempt an articulate assessment of 3D printing within the dynamic holographic aesthetics.
In this series of digital holographic images and lenticulars, we are using an old camera Canon IS3 and a new HD Canon, on the HOLOrail, to capture old fashion scenes and other scenes having a “nowadays” look and put them on the surface of the holographic plate.
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