The work focuses on the relation between artistic approach and formgiving, through the reconversion of two-dimensional images projected from three-dimensional space. The problem of depiction is a well known topos of fine arts; to reverse this question, a photogrammetric process was used, for which the standard input medium is photography. This medium was replaced by digital drawings, then an algorithm, an objective viewer, converted these subjectively filtered depictions into a three-dimensional object. Nine animations were made as attempts to find the suitable preferences for form creation. The subject of this photogrammetric reconstruction, Jean-Antoine Houdon’s l'Écorché, is a tool used in anatomy education found in every art academy, and it is also a great example of blending anatomical precision with artistic bravura. Students of art academies spend countless hours drawing a variety of compositions while tutors correct them. The artwork was inspired by this setting – students sitting in a circle around the object which has to be drawn – questioning the gesture of correction: can we really check the accuracy of drawings? Visual subjectivity is a widely discussed topic both in science and art, the project analyses this artistic vision, while also focusing on the ways in which constatly evolving technology affects art. The project invites the completely objective artifical intelligence and the intuitive subjectivity of the artist to discuss the existence of private and collective realities.
