Artist Interview: Stephen Vineburg

Stephen Vineburg is an art historian and conceptual artist who creates with a focus on using Augmented Reality (AR) to explore contemporary issues. By juxtaposing historical and classical art images with incongruous modern items, Stephen addresses societal conflicts such as climate change, the detritus of modern tourism, and the disposable nature of touristic experiences, including those recently undertaken to space.

The artist aims to engage his audience by prompting them to reflect on the often startling and inconspicuous nature of his art. He also writes about digital art and fashion and speaks at conferences and symposia, contributing his perspective to the evolving field of digital art.

We asked Stephen about his art, creative process, and inspirations.

*Digital Art by Stephen Vineburg: Sinking Interest*

Can you tell us about your background as a digital artist? How did you get started in this field?

Over the last few years, I have developed a conceptual art practice with a focus on using Augmented Reality (AR) to explore contemporary issues.

The digital art practice is focused on allowing viewers to have an augmented reality (AR) experience when viewing physical objects. My art takes everyday objects as well as classical art images and renders them digitally in order to make observations about social issues.

I use historical and classical art images juxtaposed with somewhat incongruous modern items in my digital art pieces to address serious contemporary issues. These include climate change, the detritus of modern tourism and the disposable nature of many touristic experiences, including those recently undertaken to space.

One of my strong convictions is that there is much to be learned from the parallels with development of punk rock music in the 1970’s and the emerging digital art movement. Both art forms involved the democratization of art, the disruption of established markets for art, and creation of new information channels.

*Digital Art by Stephen Vineburg: Been There Done That*

What inspires your art? Are there any particular themes or subjects that you enjoy exploring through your artwork?

One of my aims is to draw attention to contemporary social issues through digital art. I seek to engage with an audience by causing them to stop and think about the sometimes startling and inconspicuous nature of the images and AR experiences that I have created.

These themes have included the “digital paradox “, meaning our lives have become simultaneously more isolated yet more connected. I have also addressed other themes such as “mass tourism” and the literal waste it creates as well as in a figurative sense, the disposable nature of many touristic memories.

More recently I have extended this metaphor to Outer Space in his piece “Been There, Done That” which refers to the physical detritus now on Mars and the need for billionaires to also enjoy a momentary touristic experience in Space.

In other cases, I have created giant physical sculptures such as seashells and confectionary wrappers and overlayed them with AR renderings which viewers can trigger through automatic links to Instagram filters.

*Digital Art by Stephen Vineburg:* Coming Out of Our Shell

One recent example of his art converting from physical sculptures to digital art to an AR experience is a project entitled “Coming Out of Our Shell” which involved a 2m high physical sculpture of a seashell. The sculpture had previously been exhibited in the Giardina Marinaressa in a collateral event curated by the European Cultural Academy for the Venice Biennale in 2021.

For that event the Shell was rendered in opalesque colors and fitted with a sound and light show. As I have become more interested in digital art, I repurposed the Shell by removing the decoration and the sound and light technology. I then re-rendered the Shell with a natural finish as would be found in real life.

On this ‘blank canvas’ of the natural finish I projected a sophisticated AR experience which showed an embryo within the Shell. The embryo can be seen in a lifelike 360-degree, 3D views. It is nestled within a sea-like setting with fish and seaweed swimming and floating by. The theme was that after the Pandemic we were all coming out of our shells and had the chance to lead a new life. The piece invited viewers to consider how they would take advantage of that opportunity.

*Stephen Vineburg with CELED, Times Square, NYC*

Can you tell us about some of your favorite pieces? What makes them special to you?

Probably one my most popular pieces is called CELED which is a wry observation on contemporary affairs, where despite all the chaos and distress being experienced by the people, our leaders are perhaps more focused on their own vanity than providing leadership. Hence the figure of ‘Liberty Leading the People’ with the French Tricolour has been replaced by ‘Celebrity’ and the Tricolour replaced by a selfie.

The art piece is an amalgam of elements of ‘Liberty Leading the People’ by Eugene Delacroix from 1830 and ‘The Wreck of the Medusa’ by Theodore Gericault from 1818. It is interesting to note that Banksy has at times separately incorporated images from both paintings in his own work. CELED has also updated the rendering of the ‘people’ to include the iconic images of the ‘gilet jaunes’ from the protests in Paris and other parts of France running from 2018.

A key feature of CELED in both its form as an NFT and as an AR filter, is the animation and 3D experience that the piece gives the viewer.

*Digital Art by Stephen Vineburg: CELED*

“Déjeuner sur l'herbe’” is a famous painting by Edouard Manet. It shows two men relaxing in an insouciant way with semi-naked women. It caused a scandal when it was exhibited. The relaxed posing and expressions of the men became a visual personification for men being indifferent to their surroundings.

My take on that vibe inspired me to create a piece titled “Lunch Under Water”. It shows the male figures from Manet’s “Déjeuner sur l'herbe’” as modern politician’s continuing to enjoy their lunch, oblivious to the rising sea level around the, until ultimately, they are submerged in the water and items of flotsam.

“Lunch Under Water” was originally launched as an NFT on the Foundation platform. I then sought to combine the physical and by placing the image on a garment, the AR effect of the animation triggered by a QR code on the garment itself.

You’re actively participating in conferences and symposiums – how would you say these discussions and speaking engagements have an impact on your art practice?

I write a lot about the opportunities in digital art and fashion and speak at conferences and symposia. It is always good to learn from other people and I am very conscious we are at an early stage in the development of digital art fashion. People often comment that my perspective is a bit different as it comes from looking to make an artistic statement and using technology to help increase the level of engagement with the viewer and make that response more effective.

You work with AR, VR, interactive installations – can you describe your process? Do you come up with a concept and then decide on the medium, or does medium come first?

The process of developing the AR or VR installations usually begins with an observation about a contemporary social issue. Then the next stage is a decision to promote that issue in peoples’ consciousness by engaging with them through an interactive art piece.

Somehow, in the background of my mind I often remember an historical art image that can be re-purposed to make my point. My background as an art historian helps in this regard.

Usually, I make a hand drawing or cartoon of the repurposed image which, after a few iterations, we can transfer to digital editing tools and begin to add layers and animation. Recently I have used AI tools such as Midjourney to translate an idea into a visual image which I can play around with. I find it slightly neater than my hand-drawn cartoons. When we have a coherent and engaging image that is consistent with the message, I then send it to my colleagues at Areyes Studios who begin work to digitise the image and convert it into an AR filter. Throughout this process I am also consulting with my other partner CELED Studios on the best way to explain the image and allow it to be seen by a broader audience.

So really the concept comes first, and the medium follows afterwards.

*Digital Art by Stephen Vineburg: Suspension*

What would we most probably find you doing if not creating art?

I am lucky enough to have a broad range of interests in film, music, and powerlifting. I have been a producer on to films dealing with indigenous issues in Australia. I had a career in my twenties as a singer in a post-punk band. Occasionally, I perform again, most recently at the Sedition Festival.

Maybe surprisingly, I also represent Great Britain at Masters level in Powerlifting with the Bench Press event. I have competed in the English, British, Commonwealth, European and World Championships.

How do you see extended reality arts evolve in the future?

The future for Mixed Reality art is very bright. Currently there are a lot of people playing with the technology, almost like Victorian parlor novelties. I believe that very soon we will see artists seeking to use this technology to make compelling artistic statements.

I see a parallel with the development of stereophonic music. In 1958 the stereophonic record was introduced, and listeners would buy a record to marvel at the sounds of ping pong ball ricocheting across their living rooms.

Yet by 1967 the Beatles had elevated stereophonic sound to an art form with their album ‘Sgt Pepper’s Lonely Hearts Club Band’. I believe we will see the same development of sophisticated artistic expression within the digital medium.

Also, I expect digital fashion, particularly the use of AR filters, to give different clothing experiences to dramatically increase. This development will also increase the opportunity for greater self-expression while at the same time having benefits in reducing waste and promoting sustainability.