Karleung Wai, Specialist Technical Instructor in Additive Manufacturing at the Royal College of Art, discusses our work to together in making Summa Theologica in RCA Vehicle Design, this weekend at the Innovation Conference in the the Hague, Netherlands.
Royal College of Art
Delighted to have 'Things To Make' selected by the Royal College of Art Custodians for the RCA College Collection. Artist proofs of all three photographed paintings shown in the RCA Show of 2016 were selected by the RCA College Collection Custodians, with "Things To Make" requested by the Dean of Fine Art, Juan Cruz. "The Royal College of Art College Collection is a collection of over 1000 works designed to represent significant developments in British painting by alumni and staff." These are the first photographs to be added to the Royal College of Art, Painting Collection.
My graduate show has sold out, to some really good collections. Many thanks to all the RCA Painting Faculty. And Flint Fine Art and Hahnemuhle for their fantastic sponsorship.
The work of Augustine Carr crosses several registers, combining painting, sculpture, print, photography, digital scanning and film.
An appropriated book cover is painted over, not so much defaced as embellished, and then it is scanned and printed at a much-enlarged scale. His work ‘Things to Make’ depicts a few trees painted in a free and simple manner. The book it is painted on, referred to in the title, is the classic book for children, and it underlines the childish nature of the painting. But there is more than just childish irreverence at play however, as the enlargement works to both distance us from the emotive painted book and to bring us closer to it through its enlargement. The device is both undone and magnified, as is the emotional intimacy.
His sculpture ‘Summa Theologica’ works in a similar way, but involves a small hand-modeled plasticine sculpture enlarged and reproduced by detailed CNC milling. Again, what appears as a small child-like sketch is enlarged and reproduced with a technical precision that it amplifies the haptic quality of the object and places it in a space of intimate virtuality.
Augustine Carr also makes films, involving his sculpture and shifts of scale. His ‘An Investment for Economy’ involves a hearse driving an enlarged life-size reproduction of a set of hand-modeled castle crenellations. The object and the performed action are doubly over-blown and yet with the distance of the film medium, the elegy to what might be an embattled childhood is given poignancy.