They got power to them.

It's amazing, John Libyan, because everyone knows that they have expectations about it should be on as a platform for experimenting.

It's sort of unique.

In recent years, I've experimented more more with different approaches.

Different media just recently actually supposed become a sculptor.

Thanks to this rather extraordinary bit of technology, technology and art are implicitly combined.

There's a huge history of artists pushing technology in new ways and technology, actually playing catch upto artists.

So for this project, we engaged really early on, with Jonathan Yeo exploring ways in which we can use virtual reality, specifically tilt brush to create new methods of art.

It's really hard to communicate a power of painting in three dimensions one extraordinary things about till Bush and working.

And but reality generally is you could make these sweeping gestures that you would see if you were doing an expressive painting.

By coincidence, I also had a three d scandal myself, Andi turned out the three D models could be imported into the virtual reality from that I was able to draw self portrait Head the fact that you could freeze these movements.

It's sculptural, but it doesn't have to obey the laws of physics.

One of the strange.

This is the second you take the mask off.

It's completely gone.

That got me thinking about how to use it to make a real sculpture.

My role as a design technologist is really dive deep into both creative and technical projects to help find new solutions, new aesthetics and possibilities.

When artists are exposed to new technology, they can see something completely different in it.

So for this project we started playing around with how would this look if we were to be able to 30 print these drawings?

There's this amazing opportunity to rethink the way that this tool is used and really push it in a new direction.

Process off, creating something The real world was much more complicated than I ever realized.

One of the biggest challenges is something looks great.

Envy Our That doesn't necessarily mean it looks great in the real world.

We worked really, really hard to develop a tool set and processes to translate that virtual object through this pipeline into a physical work of art material.

We try something say, Hey, what does this look like?

Oftentimes he would have ideas.

Seo, Can this be a little bit tweaked?

Can this be smaller convicts to be thicker?

So there's a lot of backwards and forwards and trying things and getting it nearly right and then changing it.

None of us have done anything like this.

For nobody does anything like this before is a freedom that there's nothing to measure it against.

So after the adoration on the creative side, we took the original asset and broke it up into 37 individual pieces that were optimized for printing.

We then took those pieces to the foundry and the UK Penguin, where they were able to reassemble them and begin the process of creating the bronze, casting it in bronze.

I wanted to underline the point that this virtuality software, which is new and dazzling but sort of ephemeral and specialists literally is not there, could be used for something which is so associating with weighty permanence as bronze sculpture.

It was extraordinary to me is that the end result has still retained the lightness you feel when you're making, it doesn't feel heavy.

Old block.

You're like anything that would have been made in any other way.

It's amazing to work with an artist that really wants to dive in to something that's never been done before.

Who embraces the experimental nature of the project?

That's what's really exciting is went.

Design, engineering and art come together.

It's very healthy people outside your world, whatever it is to come in and say, Well, what you try that it's that interaction where you discover new and extraordinary things.