Independent artist, Skelmersdale, UK.
J Vis Commun Med. 2021 Oct;44(4):193-197. doi: 10.1080/17453054.2021.1920827. Epub 2021 Oct 7.
Since the Covid-19 pandemic 2020 we have experienced so much of our lives through our computer and phone screens - including the 1,787,366 people have shared the image of the Mona Lisa on social media. I consider how we can design artworks to communicate digitally utilising a range of senses testing the notion that if you enable visitors to galleries and museums to touch sculptures it should enable greater understanding about complex ideas. The focus of my artworks was the history of the transmission of disease. I original designed ceramic sculptures that incorporated touch sensitive electronic sound components. Touching objects and visiting galleries became off limits during the pandemic so the touch hypothesis could not be tested, and instead QR codes were used to allow the digital viewer to extend their experience beyond the visual. The project started as an art in science experiment in incorporating sound, sight and touch into sculpture, but finally became my personal memorial to 2020 pandemic and a tribute to the many we have lost to Covid-19.
自 2020 年新冠疫情以来，我们的生活在很大程度上都通过电脑和手机屏幕进行——包括有 1787366 人在社交媒体上分享了蒙娜丽莎的图像。我在思考如何设计艺术品，以利用多种感官进行数字交流，检验这样一种观点，即如果让参观美术馆和博物馆的人触摸雕塑，是否能让他们更深入地理解复杂的概念。我的艺术作品的焦点是疾病传播的历史。我最初设计了将触摸感应电子声音组件融入其中的陶瓷雕塑。在疫情期间，触摸物体和参观画廊都被禁止，因此无法测试触摸假说，而是使用 QR 码让数字观众将体验从视觉延伸到数字之外。该项目最初是一个将声音、视觉和触摸融入雕塑的艺术与科学实验，但最终成为我对 2020 年大流行病的个人纪念，也是对许多因新冠病毒而失去生命的人的致敬。
