WeTransfer x POSTMatter: Alan Warburton
As digital technology continues to impact nearly every area of our lives, more and more artists are trying to make sense of its influence and its opportunities. As part of an ongoing partnership with POSTmatter, we are highlighting some of the most interesting practitioners working at the place where digital meets analogue.
Next up is Alan Warburton, an artist and animator who is intrigued by the creative potential of cutting-edge CGI technology. Having graduated in Critical Fine Art Practice, Alan found computer software was an intriguing and under-utilised medium through which he could realise his projects. So whether he is designing films inspired by a deadlocked card game, or capturing a dancer’s movements and feeding them into a crowd simulation program, Alan is creating bridges between these two worlds which still sit so oddly apart.
You can read the full POSTmatter interview with Alan here, or read on to find out more about his work, his influences and his ambitions.
What is the first creative thing you can remember making?
I remember pretty clearly playing with a BBC Micro in about 1988 and programming it to draw diagonal lines between two random points.
What is the first technological device that meant something to you?
My dad was a computer salesman in the 1980s, so we had quite a few gadgets at home, but I think my Sony cassette Walkman was probably the first thing I was very attached to.
If you could make work for any space in the world, where would it be and why?
Either an IMAX theatre, a planetarium or Times Square. Or I’d make a horror movie that streams directly onto your neural pathways.
If you are having a problem with a piece, what do you do to clear your mind?
Think back to why I wanted to make it in the first place, or try and channel the first impressions of a viewer encountering the work.
How would you cope if you were cut off from the internet for a month?
Extremely well. I’d probably be more productive, sociable and happy until I needed to pay a bill or find work.
If you could only work with one material for the rest of your career, what would it be and why?
That’s easy – software/pixels.
What piece of software would you be lost without?
SideFX Houdini probably. I’m still learning, but it does stuff no other package can.