Reinterpretations of the etchingsMatthew Attard and Galleria Michela Rizzo
On the sixtieth Venice Biennale, Maltese artist Matthew Attard addresses his nation’s maritime heritage, together with notions of religion and progress, via the prism of AI-driven know-how. His work focuses on pictures of ships that had been graffitied by seafarers on the stone facades of chapels in Malta between the sixteenth and nineteenth centuries, one in all which is pictured beneath.
Ship graffito at Our Woman of the Visitation Chapel, Wied Qirda – Żebbuġ, MaltaElyse Tonna
Attard, pictured beneath, retraced the incised traces of the hulls, rigging and billowing sails utilizing his gaze, in a course of facilitated by an eye-tracking gadget and generative algorithms. “This gaze was translated into information factors by the know-how, which had been then additional interpreted to generate traces or drawings,” he says.
A database of digital pictures generated from the information factors captured the engravings from varied views, from which artworks akin to 3D scans and video items had been created.
Matthew Attard with an eye-tracking gadget.Elyse Tonna
The maritime graffiti resonates with cultures whose relationship with the ocean has been – and nonetheless is – essential, the place the ship stays a metaphor for hope and survival. Equally, Maltese chapels have lengthy been locations of sanctuary. Attard says he needed to discover “parallels with our present ‘blind religion’ in digital know-how”.
His reinterpretations of the etchings are ghostlike, skeletal impressions, as proven in the principle picture. “One might argue that even essentially the most conventional mediums, akin to a pencil or a chunk of charcoal, could be thought-about a type of drawing know-how,” he notes. His present is on the Malta Pavilion on the Venice Biennale, Italy, commissioned by Arts Council Malta, till 24 November.

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