Hola, my name is Mark Payne and I'm a Melbourne based visual artist and designer. My profession calls on me to consider the emotional state of the user and deliver highly polished designs. This work ethos has bled over into my personal art practice, where I seeks to create ambitious visuals that produce an emotional state in the viewer. My work centres around the beauty of the human form, what motivates us, the darkness in trauma and of the spaces we inhabit. I'm never content with just one medium, I flick my attention around, from traditional drawing and clay to cutting-edge 3d scanning, digital sculpture and VR worlds.
I'm always interested in artistic collaborations so feel free to say Hola back on one of the following social networks.
Animating digital characters with motion capture not intended to be used on their sex.
We're inviting artists to submit internet/screen based artworks that contribute to ongoing global conversations about #QueerTech practices & perspectives. Extremely proud to be part of the curatorial team with Alison Bennett, Travis Cox & Xanthe Dobbie.
A 360º photoshoot to capture an abandoned warehouse ends up in an adventure of digitally twisting reality.
This poem & animation exposes something locked within a trauma I experienced, where I watched someone fall onto a pavement from a great height.
I have been privileged to work with Machine Age (Adrian Mauro) on the single artwork and teaser video for his new single - 'Don't Look' - So proud of Adrian, I can't wait to see how far this beautiful song goes for him.
Before we even exhibited the Virtualdrag! project we've received immense support from internet art sites ... & humble brag time - we got featured on the Creators Project, it's kinda a big deal :)
In November, OpenLAB Melbourne invited me to give a 40 minute artist talk. I went through my 'the Ghosts of Strangers' art project, pulling apart some of the images in detail.
Started working on the VIRTUAL DRAG! project (which will be part of the Midsumma Festival 2016) - An immersive exhibition of 3D scans of drag performers via virtual reality headsets and projections with fellow artists Alison Bennett, Megan Beckwith
Finally launched an online home for the Ghosts of Strangers project
I wrote up a version of a quick talk I gave at a Media Lab Melbourne event as part of
Pause Fest 2015
Presented at medium.com
Photos from my part in this amazing exhibition - Curated by Miriam Arbus, the exhibition revealed both the aesthetic and social developments that are a result of our lives being permeated by the ever-present internet.
Gave a talk in a PechaKucha styled event held by Media Lab Melbourne as part of Pause Fest 2015 on what I've been doing with Photogrammetry
VirtualDrag! is an immersive exhibition of 3D scans of drag performers via virtual reality headsets and projections by Alison Bennett, Megan Beckwith & Mark Payne
An art project which visually explores how any interaction we have with strangers has the potential to linger on forever in our lives.
I have always been interested in the process of archiving; growing up admiring my grandmother’s photo collection. These photos held deep memories of joy and meaning for her. For me, they displayed perpetually fading faces lost to time— later realisation proved this the result of cheap manufacturing and ongoing degradation.
Digital archives by their very nature will never fade or grow fungus. They will not show water damage, or suffer folds and creases. Tremendous energy and care maintain digital archives, to preserve the data today and into the future. Data servers house our memories in the cloud, fully automated, and with impeccable redundancy.
As a part of my artwork, I practice photogrammetry— a process of capturing a series of images around a fixed subject, and using software to create a 3D digital representation of the original. This method is not without error, however it’s those errors and glitches that I’ve sought out. Experimenting and predicting potential errors in the software has shaped my work; the less detail you give the software, the easier it is to playfully coach the glitches and anomalies.
Through my work I force the digital contemporary to represent itself as though it too as fallen in time; as if it’s suffered the same destructive power my grandmother’s photo collection has. Digital archives will of course last, but the acquisition of the original subject has already been corrupted— the clearest representation of them has been lost. My portraits are a collaboration between what software can see, the original subjects I choose to capture, and with the methods I choose to archive it.