Trinity v1

Trinity explores the themes of interspecies communication, hybrids, artificial evolution, and symbiosis between synthetic forms and living matter. Teratology and technology are the core elements that inform my practice via the concepts of metamorphosis, mutation and posthumanism. Trinity focuses on the premise of reaching the next evolutionary steps by merging organic forms with technology, resulting in the ‘artificial evolution’. 

This work was the very source of the Trinity series, and while its visual inspiration and atmosphere were based mainly on a dream I once had, it perfectly fit into the themes I explore in my practice. 

Unlike the other two works in the series, In Domine Dei Nostri was sculpted with no previous plan; I made only one quick sketch to capture the twisting motion of the forms. To capture what I saw in my dream, I needed to sculpt it as quickly as possible, and work out the details later. 

Modelling stage

I wanted to show the agony and anguish of the entity by creating very tense, twisted and expressive forms.

After modelling the form, I explored the materials and lighting schemes to set the right atmosphere. I wanted to indicate the feeling of the sublime, and give the three entities an imposing presence in the empty void around them. They are meant to seem divine in an unsettling kind of way. 

The main concept behind the series is reflected in the technical process; I've combined high poly sculpting with hard surface modelling to show how the organic forms interact and become intertwined with the industrial abstraction. 

I added fog that would interact with the neon light and somewhat ground the sculptures, while still preserving the sense of unease caused by the lack of any solid, visible ground or any other object in the black void around them. The black background puts focus only on the entity and makes the neon light stand out more. 

Compared to the other two works, Synergy was very carefully planned; I worked out the different compositions with different shapes and placements of neon elements.

While In Domine Dei Nostri was a free exploration of forms based on a fleeting dream, Synergy was an almost 1:1 translation of the initial concept sketch.

First, I fully modelled the animal form for the base of the work. However, I made a slight detour when sculpting; I decided to create normal tusks, and then alter them to fit the initial concept. The base tusks were asymmetrical and irregular, and I pushed that even further to make them even more stylized and unique. 

I’ve cut off the base tusks, and added material on the sides of the trunk, and made holes. I sculpted the tusks to look mutated and uneven, morphing them into the trunk. Then I added texture; scars, rifts and creases in the skin, skin folds, bone texture and cracks on the tusks.

Modelling the abstract industrial elements and creating the composition:

Neon:

Before I moved on from modelling, I needed to test the Emission Shader to see if the industrial elements covered the neon glow properly. The lines on the surface of the neon pipe were too thin, and they got lost in the light - to correct that I had to make them wider. 

Creating cables/cords:

While creating base tube shapes, I closely followed the initial sketch, I added details; converted the curves into mesh; closed caps of the tubes; remeshed the objects, and used brushes in Sculpt Mode to make the cables more irregular, with different shapes. 

I explored different material options in Blender and played with the neon intensity, and colour of the scene. I didn't want the light to be too bright, as to preserve the darker atmosphere of the scene, but I wanted the neon to still be intense enough to scatter over the forms, and accentuate them properly. 

Given the large size of the files and system limitations, I created parts of the sculpture separately. I then combined them to match the initial concept, and make the composition work as a whole. 

This project was my first serious attempt at digital sculpture. It has been very challenging and not everything worked out the way I wanted it to. However, it has been also very rewarding, and made me learn a lot. It gave me a taste of possibilities of 3D software, and encouraged me to try other programs like Zbrush next. I'm sure incorporating 3D elements in my concept art works will also be very beneficial.  

The processes and solutions I've utilized to deliver this project weren't the most optimal, but they made me discover other, proper ways to achieve a better outcome next time.