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You can find a page on the general themes of my works here.

 

 

 

i1 2011, Oil and glass element to front, continuous canvas hides a back work in sprayed acrylic. Gilded sides contain two data storage drives and a 1mm glass capillary access into the hollow interior containing a 3rd art work and the sitters DNA.

 

 

These works consciously use portraiture and its tradition of a commission. In the past immortality could only be bought at the hand of an artist or the skills of a priest embalmer.

 

My working practice with these portrait artworks is to have a sitting, usually half a day where I will take photographs, sketch and paint. A hair sample is taken from the sitter. This sample is encapsulated and posted into the hollow blank canvas structure before the art work is sealed. I will have talked to the sitter before about art and what kind of art they love. I let this into my mind as I work on the photos and sketches back at my studio to create some different roughs that will aid my painting. I use the internet to scrape as much information about the sitter as I can find. The sitter from i1 loved Japanese prints.

 

I'm fascinated with glass and crystal. Crystals display many of the traits you would expect from life itself. Glass if viewed over long time periods behaves more like a liquid than a solid. It can magnify and enhance, bringing you closer to the subject or distort, warp or cloud your view.

 

The other works and limited edition prints (see below) are completed after the main painting. They use scanned elements from the original sitting and rough process as well as direct digital drawing and manipulation. These images are then taken into a CAD package where the glass is recreated in 3D and the whole image 'rendered' using what is called an unbiased renderer. Unbiased renderers are currently the most physically accurate way to make virtual images in a computer. Both painted and digital works reflect aspects of computer rendering, culture and simulation.

 

On delivery of the artwork the sitter obtains a randomly generated 192bit (currently unbreakable) password. With this password they can access the artwork's internal drives. An AI artist now need simply crack the encrypted drive within the painting and read the file left there by the subject. If a "yes" is found then consent has been given for simulation.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

"i2" 59.4 x 42.0 cm - biro, pencil and printed colour on heavy weight textured paper (A2)

 

To buy i2 original work please contact me directly by email from the commision menu at the top of the page.

 

 

 

 

 

"i3" 29.7 x 21.0 cm - archival giclee print on on German etching paper (A4) - 10 prints available.

 

To buy one of the ten i3 available prints please contact me directly by email from the commision menu at the top of the page.

 

 

 

 

"i4" 42.0 x 29.7 cm - archival giclee print on German etching paper (A3) - 10 prints available

 

To buy one of the ten i4 available prints please contact me directly by email from the commision menu at the top of the page.

 

 

"i5" 29.7 x 42.0 cm- archival giclee print on Folex fine art paper (A3) - 10 prints available

 

To buy one of the ten i5 available prints please contact me directly by email from the commision menu at the top of the page.

 

 

 

"i6" 29.7 x 42.0 cm- archival giclee print on Folex fine art paper (A3) - 10 prints available

 

To buy one of the ten i6 available prints please contact me directly by email from the commision menu at the top of the page.

 

 

 

 

"i7" 42.0 x 29.7 cm- archival giclee print on Folex fine art paper (A3) - 10 prints available

 

To buy one of the ten i7 available prints please contact me directly by email from the commision menu at the top of the page.

 

 

 

 

 

 

 

I'm an artist and painter working in the UK. My works can be found in private collections, and commercially in magazines and advertisements and online.

From 2004 I've been exploring transhuman themes and thread this into my current portrait work. © 2012 Russell Rukin