WHEN ANALOGUE MET DIGITAL ONE PAINTING, 20,000 IMAGES PLUS A FEW STUPID MISTAKES. HOW SCARLETT RAVEN EMBRACED AUGMENTISM.
stop-motion. I also work closely with film composer, Marc Canham, who scores all the AR. He is an amazing musician. I brief him on the emotional tone I’m after. Sometimes I let his experience guide the music and sometimes I get a little more involved with detailed notes or sourcing a guide track -- or ‘temp score’ as it’s known - for him to interpret in his own way. He is extremely intuitive and always gets the right vibe very early on. Everything is always driven by the creative anchor which is the painting itself. I’ve made plenty of stupid
Four years ago I made a stop-motion film, using my body as a canvas, which documented my work process. I’d often hidden behind my art and I’d reached a stage in my life where I wanted to reverse that, to open up. My mentor, digital artist Marc Marot, suggested I develop the idea further and apply Augmented Reality technology to my paintings. This allows people standing in front of the artwork to see the hidden layers using the Blippar app. I liked the idea that art in its most analogue form could become divulged by embracing a digital medium. The first painting was quite
mistakes along the way. I’m still learning and the process is still evolving. I storyboard the process and Marc Marot handles the digitial side, under my supervision. The first painting in The Danger Tree exhibition was In Flanders Fields. Research required trips to the Imperial War Museum and much genning up on the subject. I’m very dyslexic so I looked around and managed to find
simplistic. I recorded every touch of brush or hand on the canvas and the final result was a simple rewinding from final painting to white canvas. It was a success and it gave me the appetite to do more. I have worked hard on developing the AR process,
with Marc becoming more and more involved in the technical vision. The process is far more complex now and incorporates blue screen, time-lapse, and
part of the augmented reality. Embracing AR has changed the way I work immeasurably. The process has changed my relationship with art forever. I like working on my own, I get lost in it, but working with another artist has been a revelation for me. I’m the paint and Marc is the pixels.
like Sophie Okonedo, Sean Bean, Christopher Eccleston, Gemma Arterton, Stephen Graham and Vicky McClure. I listened to those poems over and over again while I was painting in the studio until I became convinced the words were actually ingrained in the paint. They now form a very key
a wonderful series of readings of the Great War poems on YouTube. They were read by people
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