Optical Collusion

Research background:
Comprised of antique pre-cinema stereoscopic and projection viewing systems fitted with comtemporary visualisation technologies, the works in the exhibition intend to manifest both artists¿ knowledge of and fascination with the scientific and aesthetic history of optical invention, and reveal this to the audience in a way that compellingly asks them to question the 'newness' of digital visualisation. Specifically there were 5 antique stereoscopic viewing systems, each one containing a different scene which had also been digitally constructed and manifested through such technologies as rapid protoyping / 3D printing. Also on display were magic lanterns and an animatronic optical table that used a multi-camera projection feedback system that featured 'Infinity lens' technology.
Research contribution:
Through the pairing of nineteenth and twenty first century optical technologies, the works investigate original and unique ways of using and understanding such technology. Specifically the digital 3D animation and z-printing from 19th ce. stereoscopic images was a unique process and outcome; as was the use of `Infinity lens¿ cameras, which are usually used in industrial and security industries. These lenses had never before been used in an art context, as was verified by their inventor Dr. Jim Frazier of Global Bionic Optics, who supplied them.
Research significance:
The exhibition was funded by the Arts Victoria Touring Fund, and works were created with an Australia Council Visual Arts Board grant awarded to Chris Henschke. The exhibition was featured on the SBS TV 'Artstart' series.