Japanese art inspires Tyler Van Kirk to print image sampling on silk
The Hyperstitch designed by the Chicago based computational designer Tyler Van Kirk explores techniques of image sampling to create wearable silk garments, as translation of images into forms.
The Hyperstitch project started with the exploration of “image averaging”, based on the sampling of a data set of images all of the same size. Using Python, each pixel’s color value for each image is recorded and a new image is generated by averaging the list of color values for every pixel. The resulting average is then used as the color of the pixel of the new image. Although conceptually interesting, these initial studies led the artist Tyler Van Kirk to develop a more successful image averaging technique in which the new image is composed row by row sampling one of the source images for each row. This new technique outputs images that retain recognizable characteristics of the source images, and additionally come together to fully form something new.
After developing the technique and sampling process, Tyler explored some of his own photos and further an archive of old botanical and animal illustrations. This source provided a robust sample size, but also allowed him to explore the dichotomy between the detail of the handcrafted work and the digital aesthetic gained from the technique itself. After managing some success with the illustrations, he explored other archives of handcrafted work to sample, such as scans of a small book of hand painted silk by an unknown Japanese artist. The site hosting the scans claimed the book was dated from the 1700s. Following the idea of reinterpreting the constructed outputs into some resemblance of the original medium, with the silk compositions, he was able to print the new compositions onto silk material.
The printed fabric not only reintroduced the compositions to the original medium but also allowed the piece to be folded and creased allowing the work to be explored in new dimensions. The viewer can see aspects of the original samples, but at times may not even be able to tell what elements came from different sources. There is an interesting effect to be able to manipulate the fabric reading almost as if the viewer can manipulate the digital construct and form new relationships between the sampled elements. The resulting piece can simultaneously feel like its source, vintage and display characteristics of being handmade, but also very digital and otherworldly.
