Simon Finn

Blogged by: Melbourne Central 16 Mar 2016 View comments
Simon Finn
 
Simon Finn’s works explore representations of time, and the variable syntheses between artist, environment and technology. He holds a Master of Fine Art degree by research from the Victorian College of the Arts, and first-class Honours in Fine Art from RMIT University. He has also worked as a commercial 3D visualisation artist, digital imagist, video editor, compositor and animator. Currently, he lectures in 3D design and rapid prototyping at RMIT’s School of Architecture.
 
Finn has presented ten solo exhibitions since 2011, including Foresight at Fehily Contemporary in 2015. In 2015 he won the Banyule Award and was a finalist in the Hazelhurst Regional Gallery Art on Paper Award, City of Hobart Art Prize, Darebin Art Prize, and the Keith and Elizabeth Murdoch Travelling Scholarship. His work has been exhibited in Indonesia, Taiwan, South Korea and the UK.
 
Finn is represented by Fehily Contemporary (Melbourne) and Hill-Smith Gallery (Adelaide).
 
Simon Finn
‘Suspended’
2015. HD video, 3:00 minutes.

 
Finn’s artworks use drawing, animation and sculpture to explore the spatial and temporal capabilities of virtual representations. This new animation explores the variable syntheses between artist, environment and technology, continuing Finn’s interest in depicting how duration can become static.
 
This work simulates the effects of natural force on an observation tower, depicting moments of contact and devastation. The observation tower symbolises power, oppression and structural fragility; and references the man-made constructs that have witnessed past and future events. The Towers take form with digital modelling, rendering and physics computation in order to freeze single moments, before extrapolating them into intricate charcoal and ink drawings, animation and synthetic sculptures.
 
The Tower has begun to move from the virtual into the ‘real’ world with its first installation in West Java, Indonesia, in late 2015. Finn’s 2016 exhibitions continue to play with this duality of tangible and fabricated imagery.

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