Tobias Klein works in the fields of Architecture, Art, Design and interactive Media Installation. His work generates a syncretism of contemporary CAD/CAM technologies with site and culturally specific design narratives, intuitive non-linear design processes, and historical cultural references. Before joining City University of Hong Kong in the role as interdisciplinary Assistant Professor in the School of Creative Media and the architectural department, he was employed at the Architectural Association (2008-2014) and the Royal College of Art, (2007-2010), in both cases in the postgraduate level. The resulting works of his studio are exhibited international with examples being in the collection of the Antwerp Fashion Museum, the London Science Museum, the V&A, the Bellevue Arts Museum, Museum of Moscow and Vancouver. He is lecturing and published internationally with most recent articles focusing on the translation from craftsmanship to digital manufacturing.
The brief introduction of the Robot Painting
Liquid Light is a new experimental form of Graffiti using chemical reactions and computer controlled lasers to continuously produce an animated Graffiti. Through the use of precise drawing machines, the work articulates today’s perception, production and consumption of the digital image in the context of Automisation, Glitch and Graffiti as a temporal urban phenomenon.
Based on simple chemical reactions of photochromic pigments with UV Laser Light, the installation literally draws continuously onto the Urban canvas. The project is split into three canvases that are drawn upon at the same time with three simultaneous working machines. Two are permanently marked by the laser, while the third one consists of two layers of one fading and one permanent layer of photochromic chemicals. The half-life of the fading pigments agitation is around 2 minutes, only to be replaced with a further animation layer. The second layer is permanent and becomes reference to the first. Each line, drawn with the precision of a surgical knife fades slowly away while the set-up continuously repeats the drawing onto the canvas. A camera is recording the drawing processes, revealing the animated drawing, created by the repetition of a palimpsest like layered chemical reaction. Just as the fading and disappearance of Graffiti is part of the medium that it gets overwritten and replaced, Liquid Light is a continuous fading process that through time-lapse and camera filming allows this temporal argument to be part of the Graffiti.