The notion of what constitutes a work of art determined by technological design has been a long debated topic. However, it has been proved that digital art and science have a poignant role to play in the collective progression of design-informed production and contextual critique. Arguing between the inherent values of handmade and electronic products, Nissanga Warnapura, Founder of 3D Concept Studio, the first company in the island to bring 3D printing to companies and the public across the spectrum of commercial and personal enterprises, extrapolate the aspects of this electronic craftsmanship that may be shared between traditions of innovation and the extent of human capacity.

Novelty of 3D printing

3D printing is the sophisticated technique in which physical objects are created from a successive and multi-layered process that takes shape from sculptural designs on a computer. Its efficiency is as such that production capabilities are enhanced through a revolution in the creative process, as prototypes are able to be conceived more rapidly. In serving a host of advanced functions at a fast pace, it allows for much innovation and experimentation, particularly in the field of producing works that delineate between the realms of art and design. Any object produced assumes the aspect of known physicality, in turn accentuating the stimulative and sensorial potential in making completely novel works of art, as artists and designers will have free reign to realize creations as diverse as possible.

The times in which one would note a product to be considered artistic on the basis of a handmade history and of a particular cultural tradition have been altered since the advent of artisanal machinery. Ideas of creativity and interaction present in digital technologies are often purported to lack any semblance of craftsmanship. In what ways could technology be taken to be as the next stage of creativity, akin to neural developments that aid in the development of consciousness through the interdependencies of innovation and progression? “Technology is your paintbrush”, Nissanga states, by which the creative individual or movement today may revolutionize previously accepted standards of what constitutes the romantic artist. “What you paint, produce and fabricate with it, along with the end message, is your work of art”. The conclusion communicated in turn may be as imbued with meaning as the process by which a painter may discover and realize a previously undefined quandary in the contributive agency of collective intelligence.  

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