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Triple Portrait of E: RGB, dv1

GLB model from 3D laser scan, with photographic textures
Token ID
Token Standard
GLB 3D Model
Artwork CID: QmTTorsKK8anMZtA49NnNb9GwVGzK1a2DJp9ySTyq2xavx
Token Metadata CID: QmQ3QG3ohgQusp9VBM8Pb7dBix5tEiFMe4GKJyrsdfBCvH
Sophie Kahn is an Australian/British/American sculptor and digital artist, based in Brooklyn, New York. Her work addresses technology's failure to capture the unstable human body. She grew up in Melbourne, Australia, and now lives and works in Brooklyn, New York. She earned a BA (Hons) in Fine Art/History of Art at Goldsmiths College, University of London; a Graduate Certificate in Spatial Information Architecture from RMIT University, Melbourne; and an MFA in Art and Technology Studies at the School of the Art Institute of Chicago.Past residencies include the Museum of Arts and Design, New York, and Pioneer Works, Brooklyn. Sophie was recently an artist in residence with the Studio Program at the Elizabeth Foundation for the Arts in New York (paused due to COVID). Sophie has exhibited her artwork in New York, Los Angeles, London, Paris, Sydney, Tokyo, Osaka and Seoul. Her video work has been screened in festivals including Transmediale, Zero1 San Jose Biennial, Dance Camera West, Trampoline, Frequency, Currents New Media Festival and the Japan Media Arts Festival. Sophie has taught in the Department of Digital Arts at Pratt Institute as a Visiting Associate Professor, and at Columbia College, Chicago, as a visiting instructor.

Exhibition Notes

In this work, Sophie Kahn presents an unstable digital portrait of a woman, created with a 3D laser scanner over the course of ten minutes. The artist scanned the model three times, as she slowly turned her head, resulting in a triple ‘exposure’. The 3D scanner Kahn uses was never designed to capture the human body. When confronted with breath and motion, it breaks down, generating fragmentary results. Like a photograph, a 3d scan is made from life, in a short time and from a limited perspective. When rotated, it reveals losses and blind spots, frayed edges, and voids in the solid object that stand for all the things that the scanner cannot see.

Kahn’s work references older modernist and Futurist artworks that also question our ability ‘capture’ a moment in time - Duchamp’s Nude Descending A Staircase, for example, or Cubist portraits (which were themselves influenced by the ways in which the technology of photography altered our way of seeing). But this piece adds a uniquely digital glitch: the various layers of the model’s face are translucent, and seem to collapse into themselves as the viewer rotates the model. In Kahn’s work, the technologies we use to capture the body seem to damage it through the act of capture, leaving behind a heap of poetic but ambiguous fragments.