50°58'56"N x 5°22'17"E

Sunville is a research on the objecthood of photography that ranges from old photographic techniques and expired film to digital 3D technology Sunville is a research on the objecthood of photography that ranges from old photographic techniques and expired film to digital 3D technology Sunville is a research on the objecthood of photography that ranges from old photographic techniques and expired film to digital 3D technology Sunville is a research on the objecthood of photography that ranges from old photographic techniques and expired film to digital 3D technology The Camera's Blind Spot III, La Camera Palazzo Dè Toschi Bologna

3D print in titanium 

Unique

10 cm diameter

2014

 

CONTENT

50°56'46.3"N x 5°26'32.8"E is a photograph that has been converted from 2D to 3D. It is a 360° x 180° panoramic photograph of a landscape that has been translated into depth. In principle, it is a 3D scan of the surrounding landscape that has been 3D printed in titanium by Melotte Digital Manufacturing, Zonhoven, Belgium.

 

Ives Maes’ reflection on the relationship between photography and sculpture sets out from Nicéphore Niépce’s Point de vue du Gras (1826), almost unanimously considered the world’s first example of photography. What fascinates Maes about this photographic incunabulum is its material thickness: the support was a pewter plate coated with bitumen of Judea; the exposure process consisted of slowly inscribing the image by combustion, which gave it a physical depth, however infinitesimal. To Maes, it is the most eloquent manifestation of the fact that analog photography is an imprint, a trace that light carves into a physical substance. These sculptures, whose titles are the geographic coordinates of the places they show (all in the artists hometown) carry this line of thought to an extreme conclusion. The artist took three panoramic photos, 360° x 180° views obtained by putting together multiple shots. Then, using a 3D printer, he translated the photos into actual spheres, in which the shapes (trees, grass, etc.) are actually carved into the surface, varying in depth according to their brightness in the original image. The conversion was carried out using software, without the artist’s direct intervention, just as in analog photography (in an even more autonomous way, since the technique is more basic), it is the image that takes shape by itself on the negative. 

Excerpt from the text 'The Camera’s Blind Spot: On the Materiality of Photography' by Simone Menegoi, 2016

 

PROJECT

SUNVILLE is the English translation of the name of Ives Maes’ native village Zonhoven in Belgium. The photographic series is a personal quest into his memories around specific locations in his hometown. On another level this series is a part of his PhD in the arts research at KASK School of Arts / UGent concerning the physical, sculptural and architectural aspects of photography.

EXHIBITION

Unie Hasselt Genk & The Rockshow

Emile Van Doren Museum, Genk, Belgium

21/06/2014 – 05/10/2014

Curated by Tom van Gestel & Erik Odijk

Melanie Bonajo, Vaast Colson, Franziz Denyz, Jimmie Durham, Zoro Feigl, Jean Bernard Koeman, Krijn de Koning, Rudy J. Luijters, Ives Maes, Maurer United Architects, Lara de Moor, Nils Norman, Erik Odijk, Ania Rachmat, François Roffiaen, Tomas Saraceno, PINK de Thierry, Leonid Tsvetkov, Rinus Van De Velde, Felice Varini, Erlend Williamson, Tom Wolseley

 

Image Talks

CIAP & Old Jail, Hasselt, Belgium

07/05/2015 - 31/05/2015

Curated by Frame Research Group, MAD Faculty

Txaro Arrazola, Reg Carremans, Christoph De Boeck, Francis Denys, Jolien Dirix , Emilia Grzeczka, Peter Hulsmans, Jon + Ibe, Maria Kley, Nemanja Ladjic, Thierry Lagrange, Ives Maes, Hilde Stevens, Jonas Vansteenkiste + Veerle Michiels, Yves Velter, Evelin Brosi

 

dis—play

Panache Towers, Antwerp, Belgium

23/04/2015 – 19/06/2015

Curated by Kathleen Weyts

Katrin Kamrau, Ives Maes, Adriaan Verwée

 

Ab Hier Ist Schluss Mit Lustig

Villa Van Wassenhove, Museum Dhondt-Dhaenens, Deurle, Belgium

18/10/2015 – 20/12/2015

Residency Project & Solo Exhibition

 

The Camera’s Blind Spot III: La Camera- On the Materiality of Photography

Palazzo De’ Toschi, Bologna, Italy

29/01/2016 — 28/02/2016

Curated by Simone Menegoi

Dove Allouche, Paul Caffell, Elia Cantori, Attila Csörgő, Linda Fregni Nagler, Paolo Gioli, Franco Guerzoni, Raphael Hefti, Marie Lund, Ives Maes, Justin Matherly, Lisa Oppenheim, Johan Österholm, Anna Lena Radlmeier, Evariste Richer, Fabio Sandri, Simon Starling, Luca Trevisani, Carlos Vela-Prado

Installation view by Dario Lasagni

 

Heath (Calluna Vulgaris)

Parapet / Real Humans, Saint-Louis, USA

02/06/16 - 20/06/16

Solo exhibition