"When [Image Metrics] first started working on Emily, our goal was to create an exact replica of the real actress Emily O'Brien. Why? Because there was no other way to determine how close we had come to reality if we did not replicate a 'real' person. Judging from the reaction of people at SIGGRAPH 2008, and the hundreds of media hits, we've come pretty close to the mark.
Image Metrics began planning the Emily project in March 2008. After Image Metrics developed a script for the animation, the ICT Graphics Lab scanned OíBrien to develop the template for her CG double. A team of eight artists working part-time on the internal project then built a custom rig for the Emily character, captured OíBrienís performance with video and applied it to the CG character with its proprietary facial animation solution. Once the capture and rigging processes were finalized, the 90-second animation took just one week to complete."
"e. Menura Supurba is an interactive artwork. It explores the paradox between our fascination with the exotic, and our potentially dystopic future devoid of many animal species. The work hybridises seventeenth to early twentieth century aesthetics with refined post consumer waste materials, to create a simulacra of a lyre bird. ...
Individual lyre birdís have been documented making sounds such as camera shutters, flute and piano melodies, even chain saws. This repertoire has value beyond mere curiosity. It is also an interesting gauge of our acoustic environment as it mimics sound pollution - an often overlooked interaction between humanity and the natural world. ...
Once e. Menura Superba has attracted an audience, it shows itís repertoire of plumage colours, recorded from previous encounters with other people. If it recognizes a face, it studies the personís clothes. If the colours are of interest, or the person pays a lot of attention to the sculpture, it will remember the clothing colours, for inclusion in his next display when new people attracted by itís call. Over time, the sculpture develops a repertoire of calls and plumage colours, derived from audience interaction."
(Gavin Sade and Priscilla Bracks, 2009)
Kusmirowski does copies, simulacra, forgeries, mock-ups. Meticulously and masterfully. The result of his craft is an illusion. You believe you're in front of a relic from the past, complete with patina: a sepia photography, old newspapers, cigarette packs, but also a graveyard, the wagon of a '40s train or an entire train station. I never used to be fascinated by sculptures but the young artist put such a eerie, retro-innovative' spin to the genre that he won me over.
DATAmatic 880 is a 1960's computer lab that comes straight from the time machine. Its name recalls the DATAmatic 1000, a large-scale electronic data processing machine, launched by American company DATAmatic in the '50s. As you can guess, Kusmirowski's DATAmatic 880 never existed."
(We Make Money Not Art)