MetaObjects also became a means to test out ideas as part of the research I was doing.
But also it was a chance to start our own projects, which we always wanted to do, after leaving full-time jobs in London. We moved to Hong Kong because I was offered a PhD fellowship at City University of Hong Kong. It might not be something we have worked with before, but we take it as an opportunity to learn with the artist. The artists we work with come up with so many different things. Everything from detailed figurine board game pieces to fashion accessories, like intricate shoe buckles or design prototypes.ĪWWe took the projects as a learning process and we do the same now. We almost made back all the money we spent on the printer by doing these small jobs on 3D Hubs.ĪCPrinting for other people, you get so many interesting jobs. I wrote a blog post about our 3D print experience just after we moved here and put it on Medium. Courtesy the artist.Ĭosts have come down so much that a lot of artists have their own 3D printer. Exhibition view: Micro Era: Media Art from China, KulturForum, Berlin (5 September 2019–26 January 2020). Lu Yang, The Great Adventure of the Material World (2019). Now 3D Hubs has changed their model to just support industrial-size on-demand manufacturing. There were certain pitfalls with it, but you get nice quality, so we immediately got a lot of work.ĪWThat was around 2014 or 2015 when there was a lot of hype around 3D printing. Ours was a more expensive resin-based printer.
We don't have a goal, we just put ourselves and our propositions out there to support and enable others.ĪCAnyone who owned a 3D printer could register it with 3D Hubs and people could pay you to run prints for them. That's when we bought the FormLabs Form 1+ and started to run it as a service on 3D Hubs. Courtesy MetaObjects.ĪWI was working with Sedition, the London-based online platform for selling and trading art in digital format, where I met a lot of artists, partners, and institutions, and became interested in building on those networks in ways that were not just about selling digital art but supporting artists and building more meaningful relationships through artistic production.Īndy also worked with some of his artist friends in London, photographing their events and doing their websites.
'It's about finding sustainable economies to support artists knowing that common challenges are access to technology and technical skills to make work.' I just want to demonstrate that we can do things that are not necessarily following the typical paths of the creative agency,' Wong explained during our conversation at their studio in Cheung Sha Wan. 'I think of the studio as an art project, but I don't intend it to be explicit. Similar post-critical studios like the New York-based Foreign Objects and The Hague-based The Rodina produce their own art MetaObjects currently does not. While there are other studios in Hong Kong working with the cultural sector, they define themselves as using art and technology to create digital experiences MetaObjects considers itself a studio for 'artist-led' technology-based inquiry. Exhibition view: 12th Shanghai Biennale, Power Station of Art, Shanghai (10 November 2018–10 March 2019). Lu Yang, Dance Dance Lu Yang Revolution (2018).
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