{"id":106,"date":"2008-10-10T10:47:46","date_gmt":"2008-10-10T10:47:46","guid":{"rendered":"https:\/\/www.shapeways.com\/blog\/archives\/106-interview-with-sculptor-michael-shaw.html"},"modified":"2014-07-03T16:41:33","modified_gmt":"2014-07-03T16:41:33","slug":"interview-with-sculptor-michael-shaw","status":"publish","type":"post","link":"https:\/\/www.shapeways.com\/blog\/interview-with-sculptor-michael-shaw","title":{"rendered":"Interview with sculptor Michael Shaw"},"content":{"rendered":"<p>Dr. Michael Shaw is an acclaimed sculptor whith many solo and group exhibitions to his name. As well as having won prizes for his work he has a PHD in sculpture and makes <a href=\"http:\/\/www.michaelshaw.org\/INF1.html\">inspiring<\/a> and <a href=\"http:\/\/www.michaelshaw.org\/sculpture_neon.html\">thought provoking<\/a> work. He is <a href=\"https:\/\/www.shapeways.com\/blog\/wp-content\/uploads\/2008\/10\/Shawrpshapeways11.jpg\" class=\"serendipity_image_link\"><!-- s9ymdb:190 --><img loading=\"lazy\" decoding=\"async\" height=\"74\" width=\"110\" src=\"https:\/\/www.shapeways.com\/blog\/wp-content\/uploads\/2008\/10\/Shawrpshapeways11-150x150.jpg\" style=\"border: 0px none ; float: right; padding-left: 5px; padding-right: 5px;\"><\/a>currently an AHRC research fellow at Loughborough University where he is exploring rapid manufacturing and digital design. Loughborough University by the way may not sound familiar to you now, but they do cutting edge work in <a href=\"http:\/\/www.lboro.ac.uk\/departments\/mm\/research\/rapid-manufacturing\/\">rapid manufacturing<\/a> and as far as we are concerned is one of the most relevant and exciting places to be right now. You can check out <a href=\"http:\/\/www.michaelshaw.org\/\">Michael&#8217;s website<\/a><a href=\"http:\/\/www.michaelshaw.org\/\"> and work here,<\/a> his <a href=\"http:\/\/www.michaelshaw.org\/sculpture_virtual.html\">3D printed work here<\/a> or <a href=\"http:\/\/www.lboro.ac.uk\/departments\/ac\/mainpages\/Research\/staffpages\/Shaw_m\/shawm.htm\">his faculty page here<\/a>. <\/p>\n<\/p>\n<p>Suffice it to say that we are very proud that Michael, or rather Dr. Michael Shaw, is a Shapeways member and one of our best customers to boot. We&#8217;re also glad he took the time to answer some questions we had for him. <\/p>\n<p><style type=\"text\/css\">\n\t<!--\n\t\t@page { size: 8.5in 11in; margin: 0.79in }\n\t\tP { margin-bottom: 0.08in }\n\t-->\n\t<\/style>\n<\/p>\n<p style=\"margin-bottom: 0in;\"><font color=\"#0000ff\"><i>Why do you use Maya? <\/i><\/font>\n<\/p>\n<p style=\"margin-bottom: 0in;\">Maya, despite being horrendously<br \/>\ncomplicated, is quite user friendly because the basic means for<br \/>\nchanging geometry are easily visible and there is a simple logic to<br \/>\nthings like the attributes editor and the history capability.<br \/>\nHowever, I wouldn&rsquo;t like to have to learn it again, that&rsquo;s not to<br \/>\nsay I&rsquo;m anyway near mastering it, but that I have no desire to go<br \/>\nright back to the beginning! It is in some ways like Pandora&rsquo;s box,<br \/>\nonce you open it all sorts of stuff comes out; for example how<br \/>\nanimation and particle systems can be used to modulate geometry. So<br \/>\nit&rsquo;s is an incredibly rich tool, but at the end of the day it&rsquo;s<br \/>\njust a tool; a really complicated pencil. What&rsquo;s key is the<br \/>\ngeometry you develop with it, and without any kind of real world<br \/>\nunderlying philosophy it&rsquo;s likely to be quite vacuous.<\/p>\n<\/p>\n<p>continued below.&nbsp; &nbsp; &nbsp;\n<\/p>\n<\/p>\n<p><!--more--><\/p>\n<style type=\"text\/css\">\n\t<!--\n\t\t@page { size: 8.5in 11in; margin: 0.79in }\n\t\tP { margin-bottom: 0.08in }\n\t-->\n\t<\/style>\n<p style=\"margin-bottom: 0in;\"><font color=\"#0000ff\"><i>So Maya is a really complicated<br \/>\ntool. What would your ideal 3D modelling tool look like? <\/i><\/font>\n<\/p>\n<p style=\"margin-bottom: 0in;\">Maya is undoubtedly complicated, but<br \/>\nI&rsquo;m definitely not saying that&rsquo;s necessarily a bad thing. It&rsquo;s<br \/>\ntough to learn, but the rewards are great. I guess an ideal 3D<br \/>\nsoftware would incorporate the best aspects of the Maya, Rhino3D and<br \/>\nso on. I&rsquo;ve tried things like Solidworks and heavy duty CAD but<br \/>\nfound them wholly alien. Personally, I favour modelling and working<br \/>\nwith <a href=\"http:\/\/en.wikipedia.org\/wiki\/NURBS\">NURBS<\/a>, so anything that parallels the way I might make something<br \/>\nin the real world would be good.\n<\/p>\n<p style=\"margin-bottom: 0in;\">\n<style type=\"text\/css\">\n\t<!--\n\t\t@page { size: 8.5in 11in; margin: 0.79in }\n\t\tP { margin-bottom: 0.08in }\n\t-->\n\t<\/style>\n<\/p>\n<p style=\"margin-bottom: 0in;\"><font color=\"#0000ff\"><i><a href=\"http:\/\/en.wikipedia.org\/wiki\/Auguste_Rodin\">Rodin<\/a> said that, &#8220;he chose a<br \/>\nblock of marble and chopped off what he didn&#8217;t need&#8221; in a 3d<br \/>\nmodelling package one starts with a blank screen, does this change<br \/>\nsculpture itself?<\/i><\/font><\/p>\n<p style=\"margin-bottom: 0in;\">I don&rsquo;t really think so; because it<br \/>\nis inevitable one will either consciously or subconsciously import<br \/>\none&rsquo;s re<a class=\"serendipity_image_link\" href=\"uploads\/Rodin_The_Thinker_p1070090.jpg\"><img loading=\"lazy\" decoding=\"async\" height=\"110\" width=\"82\" style=\"border: 0px none ; float: right; padding-left: 5px; padding-right: 5px;\" src=\"https:\/\/www.shapeways.com\/blog\/wp-content\/uploads\/2008\/10\/Rodin_The_Thinker_p10700901-150x150.jpg\"><\/a>al <a class=\"serendipity_image_link\" href=\"\/blog\/uploads\/Rodin_The_Thinker_p1070090.jpg\"><!-- s9ymdb:194 --><\/a>world philosophy into the virtual environment. That<br \/>\nsaid, there are aspects of CAD software which have precipitated new<br \/>\nforms in my practice that I simply wouldn&rsquo;t have imagined, or been<br \/>\nable to hand craft. For example, in CAD one can effect subtle<br \/>\ndistortions to the whole of a form whilst maintaining its gestalt, or<br \/>\nin other words maintain the sense of its whole be that circular<br \/>\nelliptical or whatever whilst twisting or bending along some axis.<br \/>\nThis for me is a powerful and extremely desirable attribute<\/p>\n<\/p>\n<p style=\"margin-bottom: 0in;\">\n<style type=\"text\/css\">\n\t<!--\n\t\t@page { size: 8.5in 11in; margin: 0.79in }\n\t\tP { margin-bottom: 0.08in }\n\t-->\n\t<\/style>\n<\/p>\n<p style=\"margin-bottom: 0in;\"><i><font color=\"#0000ff\">Does working with 3D software mean<br \/>\nthat you approach a sculpture differently?<\/font> <\/i>\n<\/p>\n<p style=\"margin-bottom: 0in;\">In some ways, yes and in some ways no.<br \/>\nMost of the sculptures I make in the &lsquo;real world&rsquo; have been cast<br \/>\nfrom constructed moulds or constructed in some way, so I don&rsquo;t<br \/>\nreally model materials such as clay for example. Virtually, my<br \/>\napproach is fairly similar; it&rsquo;s a kind of construction often<br \/>\nstarting with line rather than solids in order to create sinusoidal<br \/>\ncylinders. I am definitely infatuated with the awesome potential of<br \/>\ndeformers like bend and twist and their effects when combined;<br \/>\nlikewise lattice deformers. One of the great things about CAM for the<br \/>\nsculptor is the copy and paste function, which means it&rsquo;s possible<br \/>\nto try an almost endless variety of forms without committing to the<br \/>\ntime consuming and expensive process of fabrication. I contend this<br \/>\nencourages a playfulness and experimental exploration which can<br \/>\nsometimes go missing under the duress of the physical grind of making<br \/>\nthings by hand.\n<\/p>\n<p style=\"margin-bottom: 0in;\"><font color=\"#0000ff\"><i>You seem fascinated by distortion or<br \/>\nchanges in a shape. When did altering of shapes, this &#8216;endless<br \/>\nvariety of forms&#8217; begin to influence and inspire you? <\/i><\/font><a class=\"serendipity_image_link\" href=\"https:\/\/www.shapeways.com\/blog\/wp-content\/uploads\/2008\/10\/Shawrpshapeways21.jpg\"><!-- s9ymdb:191 --><img loading=\"lazy\" decoding=\"async\" height=\"110\" width=\"74\" style=\"border: 0px none ; float: right; padding-left: 5px; padding-right: 5px;\" src=\"https:\/\/www.shapeways.com\/blog\/wp-content\/uploads\/2008\/10\/Shawrpshapeways21-150x150.jpg\"><\/a>\n<\/p>\n<p style=\"margin-bottom: 0in;\">I&rsquo;ve always been interested in<br \/>\ndistorting shapes, however prior to Rapid Prototyping this often involved merely<br \/>\nslicing bits off an existing form or squashing them somehow when<br \/>\ncuring in the mould, whereas CAD\/CAM has completely opened up a whole<br \/>\nnew range of possibilities. It is no exaggeration to suggest is has<br \/>\nbeen a revelation that has revolutionised my practice.\n<\/p>\n<p style=\"margin-bottom: 0in;\">\n<style type=\"text\/css\">\n\t<!--\n\t\t@page { size: 8.5in 11in; margin: 0.79in }\n\t\tP { margin-bottom: 0.08in }\n\t-->\n\t<\/style>\n<\/p>\n<p style=\"margin-bottom: 0in;\"><i><font color=\"#0000ff\">Do rapid manufacturing materials<br \/>\nchange your process?<\/font> <\/i>\n<\/p>\n<p style=\"margin-bottom: 0in;\">Often Rapid Prototyping is a means to quickly<br \/>\nfabricate a model which can then be rescaled up to something larger,<br \/>\nso in this case it functions as a means to an ends. Other times the<br \/>\nRapid Prototyping object is the final artefact. I don&rsquo;t envisage not making &lsquo;real<br \/>\nworld&rsquo; sculptures and I think a symbiotic relationship will<br \/>\ncontinue to exist in my practice for the foreseeable future whereby<br \/>\none medium informs the other and vice versa. I like the white SLS<br \/>\nnylon(White, Strong &amp; Flexible), but only when the form is so thin light can almost pass<br \/>\nthrough it, but the ideal RP materials would be the transparent ones<br \/>\nif only they were really UV resistant.\n<\/p>\n<p style=\"margin-bottom: 0in;\"><font color=\"#0000ff\"><i>So is process or the end result<br \/>\nthe most important to you? <\/i><\/font>\n<\/p>\n<p style=\"margin-bottom: 0in;\">Process, technique, call it what you<br \/>\nwill, is simply a means to an ends for me; the only thing that<br \/>\nmatters is the outcome. What defines the quality of the outcome is<br \/>\nthe dynamism of the geometry, and form generation <a class=\"serendipity_image_link\" href=\"https:\/\/www.shapeways.com\/blog\/wp-content\/uploads\/2008\/10\/Shawrpshapeways31.jpg\"><!-- s9ymdb:192 --><img loading=\"lazy\" decoding=\"async\" height=\"74\" width=\"110\" style=\"border: 0px none ; float: right; padding-left: 5px; padding-right: 5px;\" src=\"https:\/\/www.shapeways.com\/blog\/wp-content\/uploads\/2008\/10\/Shawrpshapeways31-150x150.jpg\"><\/a>is the central<br \/>\ntenant of sculpting in my opinion. I would argue that it is the<br \/>\nprimary concern of the sculptor because in selecting materials,<br \/>\ncolours and surface finishes one operates as a conductor, whereas in<br \/>\nestablishing geometry the sculptor is solely responsible. Rapid Prototyping and CAD<br \/>\nseem to have enormous potential in extending the possible vocabulary<br \/>\nof three dimensional forms.<\/p>\n<p style=\"margin-bottom: 0in;\">\n<style type=\"text\/css\">\n\t<!--\n\t\t@page { size: 8.5in 11in; margin: 0.79in }\n\t\tP { margin-bottom: 0.08in }\n\t-->\n\t<\/style>\n<\/p>\n<p style=\"margin-bottom: 0in;\"><i><font color=\"#0000ff\">What are the limitations and<br \/>\nadvantages of rapid manufacturing?<\/font> <\/i>\n<\/p>\n<p style=\"margin-bottom: 0in;\">The limits of Rapid Prototyping are inevitably the<br \/>\ncost and the build envelope of the machines. The former can be<br \/>\nmitigated somewhat by creating hollow geometries with thin walls or<br \/>\ncaged or perforated structures; whereas the latter is definitely a<br \/>\nrestriction for me given my focus on singular sculptural forms means<br \/>\npart by part construction is out. The primary advantages of Rapid Prototyping are<br \/>\nthat you get what you design and that the complexity of the geometry<br \/>\nbears no consequence on the possibility to manufacture. In other<br \/>\nwords, <a class=\"serendipity_image_link\" href=\"https:\/\/www.shapeways.com\/blog\/wp-content\/uploads\/2008\/10\/Shawrpshapeways41.jpg\"><!-- s9ymdb:193 --><img loading=\"lazy\" decoding=\"async\" height=\"74\" width=\"110\" style=\"border: 0px none ; float: right; padding-left: 5px; padding-right: 5px;\" src=\"https:\/\/www.shapeways.com\/blog\/wp-content\/uploads\/2008\/10\/Shawrpshapeways41-150x150.jpg\"><\/a>it doesn&rsquo;t matter how complex the form is in terms of<br \/>\noverhangs, subtle or complex distortions or forms within one another<br \/>\nthe machine just prints it layer by layer. Sometimes I fear that the<br \/>\noutcome can be a little too antiseptic and that the imperfect touch<br \/>\nof the human is missing, on the other hand imperfection and<br \/>\ndistortion can be built into the virtual geometry if so desired or<br \/>\none can just accept the austere perfection as its quality and work<br \/>\nwith it. One is also limited by the visual aesthetics of the<br \/>\nmaterials currently available for use. Real pungent vibrant colour<br \/>\nwould be a welcome development, rather than the slightly washed out<br \/>\npastels that the Z-corp machines produce in my opinion.<\/p>\n<p style=\"margin-bottom: 0in;\">\n<style type=\"text\/css\">\n\t<!--\n\t\t@page { size: 8.5in 11in; margin: 0.79in }\n\t\tP { margin-bottom: 0.08in }\n\t-->\n\t<\/style>\n<\/p>\n<p style=\"margin-bottom: 0in;\"><i><font color=\"#0000ff\">What do you mean by, that 3D printed<br \/>\nwork is &#8220;too antiseptic and that the imperfect touch of the<br \/>\nhuman is missing&#8221;? Is it like Muslim artists in bygone days<br \/>\nmaking beautiful carpets but leaving in one intentional error to<br \/>\ndemonstrate that only God is perfect?<\/font> <\/i>\n<\/p>\n<p style=\"margin-bottom: 0in;\">I&rsquo;ve always aspired to make &lsquo;perfect&rsquo;<br \/>\nobjects by hand, but never really been able to achieve it, now RP has<br \/>\nenabled me to produce certain forms whose geometry is so consistent<\/p>\n<p>that they might be considered to be &lsquo;perfect&rsquo;; but having seen<br \/>\nthe results I&rsquo;m not sure it&rsquo;s really what I want. You finally get<br \/>\nwhat you always wanted and end up disappointed! On the other hand,<br \/>\nmodels straight out of the machine invariably have evidence of the<br \/>\nstrata by strata manufacture; the layering remains and testifies to<br \/>\nhow they were made, so <!-- s9ymdb:195 --><a href=\"http:\/\/www.flickr.com\/photos\/aquistbe\/17878148\/\"><img loading=\"lazy\" decoding=\"async\" height=\"110\" width=\"71\" style=\"border: 0px none ; float: right; padding-left: 5px; padding-right: 5px;\" src=\"https:\/\/www.shapeways.com\/blog\/wp-content\/uploads\/2008\/10\/birdinspace1-150x150.jpg\"><\/a>this might be considered an imperfection in<br \/>\nitself. I quite value the resulting lines because they function as<br \/>\ncontour lines that simultaneously are and describe the form: and<br \/>\nsimilar linear qualities have been present in a lot of my previous<br \/>\nsculptures.\n<\/p>\n<p style=\"margin-bottom: 0in;\">Anyway perfection is really a kind of<br \/>\nabstract notion or philosophical stance. The example you give has a<br \/>\nlot of parallels with the Japanese aesthetic notion <i>Wabi-Sabi<\/i>,<br \/>\nwhich favours imperfection over perfection. I have an empathy with<br \/>\nthis way of thinking. For example, even in sculptures by <a href=\"http:\/\/en.wikipedia.org\/wiki\/Brancusi\">Brancusi<\/a><br \/>\nsuch as <a href=\"http:\/\/www.metmuseum.org\/works_of_art\/collection_database\/all\/bird_in_space_constantin_brancusi\/objectview_enlarge.aspx?page=4&amp;sort=0&amp;sortdir=asc&amp;keyword=&amp;fp=1&amp;dd1=0&amp;dd2=0&amp;vw=0&amp;collID=21&amp;OID=210006973&amp;vT=1\"><i>Bird in Space<\/i><\/a> which in photographs appear to be<br \/>\n&lsquo;perfect&rsquo;, there are often deviations in the geometry or pitted<br \/>\nmarks in their surfaces.<\/p>\n<p style=\"margin-bottom: 0in;\">\n<style type=\"text\/css\">\n\t<!--\n\t\t@page { size: 8.5in 11in; margin: 0.79in }\n\t\tP { margin-bottom: 0.08in }\n\t-->\n\t<\/style>\n<\/p>\n<p style=\"margin-bottom: 0in;\"><i><font color=\"#0000ff\">Is the Rapid Manufacturing process too clinical to<br \/>\nyou?<\/font> <\/i>\n<\/p>\n<p style=\"margin-bottom: 0in;\">Well, it certainly removes production<br \/>\nout of the worlds of chance and happenstance; often in real world<br \/>\nproduction errors can occur and these can prompt new developments in<br \/>\nterms of form or technique. However with the actual outputting of Rapid Prototyping<br \/>\nobjects this does not happen simply because the machine faithfully<br \/>\nprints the data it is given. However, unexpected occurrences can also<br \/>\nemerge in the modelling of virtual geometry so to some extent the<br \/>\nunexpected is still present and intuition can play a role in shaping<br \/>\nwork in the CAD\/CAM arena.\n<\/p>\n<p style=\"margin-bottom: 0in;\"><i><font color=\"#0000ff\">Does a smudge from the artist&rsquo;s<br \/>\nhand, a mistake somehow make a work more human? But, would the work<br \/>\nnot be more perfect without the smudge?<\/font> <\/i>\n<\/p>\n<p style=\"margin-bottom: 0in;\">There&rsquo;s a lot to be said for the<br \/>\nsigns and errors of the human hand. It has something to do with a<br \/>\nquite primal need to mark things with our own signature in some way I<br \/>\nthink. Somehow there needs to be a bit of dirt under the fingernail<br \/>\nfor me &ndash; for instance it&rsquo;s the grain of sand in the oyster that<br \/>\nproduces the pearl&hellip;.!\n<\/p>\n<\/p>\n<\/p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Dr. Michael Shaw is an acclaimed sculptor whith many solo and group exhibitions to his name. As well as having&#8230;<\/p>\n","protected":false},"author":6,"featured_media":2851,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[480,477],"class_list":["post-106","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","tag-4-art","tag-1-whats-hot"],"thumbnail":false,"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v23.9 (Yoast SEO v23.9) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Interview with sculptor Michael Shaw - Shapeways Blog<\/title>\n<meta name=\"description\" content=\"Dr. Michael Shaw is an acclaimed sculptor whith many solo and group exhibitions to his name. 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