HUMAN STUDY #1
BE SKETCHED BY A ROBOT
For NFT Paris, we are minting portrait sessions. By collecting a Human Study #1 token, you are making an appointment to take part as a sitter to be sketched by an RNP robot. After the 15 min session, apart from the memorable experience, you will get your drawing. Then a few days later, you will receive two NFTs memories of the performance.
Patrick, 13/02/2022, 24 x 32 cm, ink on 300g Arches paper.
This drawing was produced with the new RNP that will be present at NFT Paris.
Drawings by Tresset’s robots are in private collections and public ones, including of the Victoria & Albert Museum (London, UK), Guerlain Foundation (Paris, FR), Maison D’ailleur (Yverdon, CH), McaM (Shanghai, CN).
Human Study #1 premiered at the Merge festival in association with Tate Modern in London in 2012. It has since been exhibited around the world, including in major institutions such as the Pompidou centre, MMCA (Seoul) at Ars Electronica (Linz), BOZAR (Brussels), BIAN (Montreal), Mori Museum (Tokyo), MCaM (Shanghai), Artistree (Hong Kong).
Human Study #1 is an award-winning performative installation: NTAA 2014, Prix du public, 3rs Prix du Jury – Lumen 2014, Bronze – Japan media festival prize 2015, Jury Selection
1/1 NFTs, memories of the performance are generative animations based on what the robot sees and the visualisation of its internal processes.
BOOK YOUR APPOINTMENT
Collect a token with your chosen time below on objkt.com or here.
Please come 5 min before the appointment at the Human Study, Patrick Tresset booth at NFT Paris, Station F, 22 January (you have to have a ticket for NFT Paris).
If you don’t have a twitter account linked to your tez address, please email me at tresset@patricktresset.com.
Please wear a light coloured mask, surgical or white FFP2. In any case, there will be some FFP2 available.
More NFTs by Patrick here
Human Study #1, is an installation where the human becomes an actor. In a scene reminiscent of a life drawing class, the human takes the sitter’s role to be sketched by a robot. The robot, a stylised minimal artist, is only capable of drawing obsessively. Its eye focuses on the subject or looks at the drawing in progress. The drawing sessions last up to 15 min, during which time the human cannot see the drawings in progress. The sitter only sees the robot alternating between observing and drawing, sometimes pausing. The sitter is in an ambivalent position, at the mercy of the robot’s scrutiny, but also as an object of artistic attention. Although immobile, the model is active in keeping the pose, for the spectators the sitter is an integral part of the installation. The RNP was originally developed by Patrick Tresset to palliate a debilitating painter’s block. It could be seen as a creative prosthetic or a behavioural self-portrait. Even if the way the robot RNP draws is based on Tresset’s technique, its style is not a pastiche of Tresset’s, but rather an interpretation influenced by the robot’s characteristics.
Patrick Tresset is a Brussels-based artist who, in his work, explores human traits and the aspects of human experience. His work reflects recurrent ideas such as embodiment, passing time/time passing, childhood, conformism, obsessiveness, nervousness, the need for storytelling, and mark-making. He is best known for his performative installations using robotic agents as stylized actors that make marks and for his exploration of the drawing practice using computational systems and robots.
He attended Goldsmiths College, London, for a master’s degree and then an MPhil in arts and computational technologies. Aside from his artistic practice, in 2013, he was a senior visiting research fellow at Konstanz University and is currently an adjunct assistant professor at the University of Canberra. His past research work is referenced in more than a hundred academic publications in various fields (computational graphics, drawing, psychology, AI, robotics).
His works have featured in numerous media, including; Art press, Art review, Beaux art, Frieze, Arte, Form, Wired, Vice, BBC, DeWelle, Le monde, New York Times.
HUMAN STUDY #1
BE SKETCHED BY A ROBOT
For NFT Paris, we are minting portrait sessions. By collecting a Human Study #1 token, you are making an appointment to take part as a sitter to be sketched by an RNP robot. After the 15 min session, apart from the memorable experience, you will get your drawing. Then a few days later, you will receive two NFTs memories of the performance.
Patrick, 13/02/2022, 24 x 32 cm, ink on 300g Arches paper.
This drawing was produced with the new RNP that will be present at NFT Paris.
Drawings by Tresset’s robots are in private collections and public ones, including of the Victoria & Albert Museum (London, UK), Guerlain Foundation (Paris, FR), Maison D’ailleur (Yverdon, CH), McaM (Shanghai, CN).
Human Study #1 premiered at the Merge festival in association with Tate Modern in London in 2012. It has since been exhibited around the world, including in major institutions such as the Pompidou centre, MMCA (Seoul) at Ars Electronica (Linz), BOZAR (Brussels), BIAN (Montreal), Mori Museum (Tokyo), MCaM (Shanghai), Artistree (Hong Kong).
Human Study #1 is an award-winning performative installation: NTAA 2014, Prix du public, 3rs Prix du Jury – Lumen 2014, Bronze – Japan media festival prize 2015, Jury Selection
1/1 NFTs, memories of the performance are generative animations based on what the robot sees and the visualisation of its internal processes.
BOOK YOUR APPOINTMENT
Collect a token with your chosen time below on objkt.com or here.
Please come 5 min before the appointment at the Human Study, Patrick Tresset booth at NFT Paris, Station F, 22 January (you have to have a ticket for NFT Paris).
If you don’t have a twitter account linked to your tez address, please email me at tresset@patricktresset.com.
Please wear a light coloured mask, surgical or white FFP2. In any case, there will be some FFP2 available.
More NFTs by Patrick here
Human Study #1, is an installation where the human becomes an actor. In a scene reminiscent of a life drawing class, the human takes the sitter’s role to be sketched by a robot. The robot, a stylised minimal artist, is only capable of drawing obsessively. Its eye focuses on the subject or looks at the drawing in progress. The drawing sessions last up to 15 min, during which time the human cannot see the drawings in progress. The sitter only sees the robot alternating between observing and drawing, sometimes pausing. The sitter is in an ambivalent position, at the mercy of the robot’s scrutiny, but also as an object of artistic attention. Although immobile, the model is active in keeping the pose, for the spectators the sitter is an integral part of the installation. The RNP was originally developed by Patrick Tresset to palliate a debilitating painter’s block. It could be seen as a creative prosthetic or a behavioural self-portrait. Even if the way the robot RNP draws is based on Tresset’s technique, its style is not a pastiche of Tresset’s, but rather an interpretation influenced by the robot’s characteristics.
Patrick Tresset is a Brussels-based artist who, in his work, explores human traits and the aspects of human experience. His work reflects recurrent ideas such as embodiment, passing time/time passing, childhood, conformism, obsessiveness, nervousness, the need for storytelling, and mark-making. He is best known for his performative installations using robotic agents as stylized actors that make marks and for his exploration of the drawing practice using computational systems and robots.
He attended Goldsmiths College, London, for a master’s degree and then an MPhil in arts and computational technologies. Aside from his artistic practice, in 2013, he was a senior visiting research fellow at Konstanz University and is currently an adjunct assistant professor at the University of Canberra. His past research work is referenced in more than a hundred academic publications in various fields (computational graphics, drawing, psychology, AI, robotics).
His works have featured in numerous media, including; Art press, Art review, Beaux art, Frieze, Arte, Form, Wired, Vice, BBC, DeWelle, Le monde, New York Times.
HUMAN STUDY #1
BE SKETCHED BY A ROBOT
For NFT Paris, we are minting portrait sessions. By collecting a Human Study #1 token, you are making an appointment to take part as a sitter to be sketched by an RNP robot. After the 15 min session, apart from the memorable experience, you will get your drawing. Then a few days later, you will receive two NFTs memories of the performance.
Patrick, 13/02/2022, 24 x 32 cm, ink on 300g Arches paper.
This drawing was produced with the new RNP that will be present at NFT Paris.
Drawings by Tresset’s robots are in private collections and public ones, including of the Victoria & Albert Museum (London, UK), Guerlain Foundation (Paris, FR), Maison D’ailleur (Yverdon, CH), McaM (Shanghai, CN).
Human Study #1 premiered at the Merge festival in association with Tate Modern in London in 2012. It has since been exhibited around the world, including in major institutions such as the Pompidou centre, MMCA (Seoul) at Ars Electronica (Linz), BOZAR (Brussels), BIAN (Montreal), Mori Museum (Tokyo), MCaM (Shanghai), Artistree (Hong Kong).
Human Study #1 is an award-winning performative installation: NTAA 2014, Prix du public, 3rs Prix du Jury – Lumen 2014, Bronze –
Japan media festival prize 2015, Jury Selection
1/1 NFTs, memories of the performance are generative animations based on what the robot sees and the visualisation of its internal processes.
Please come 5 min before the appointment at the Human Study, Patrick Tresset booth at NFT Paris, Station F, 22 January (you have to have a ticket for NFT Paris).
If you don’t have a twitter account linked to your tez address, please email me at tresset@patricktresset.com.
Please wear a light coloured mask, surgical or white FFP2. In any case, there will be some FFP2 available.
More NFTs by Patrick here
Human Study #1, is an installation where the human becomes an actor. In a scene reminiscent of a life drawing class, the human takes the sitter’s role to be sketched by a robot. The robot, a stylised minimal artist, is only capable of drawing obsessively. Its eye focuses on the subject or looks at the drawing in progress. The drawing sessions last up to 15 min, during which time the human cannot see the drawings in progress. The sitter only sees the robot alternating between observing and drawing, sometimes pausing. The sitter is in an ambivalent position, at the mercy of the robot’s scrutiny, but also as an object of artistic attention. Although immobile, the model is active in keeping the pose, for the spectators the sitter is an integral part of the installation. The RNP was originally developed by Patrick Tresset to palliate a debilitating painter’s block. It could be seen as a creative prosthetic or a behavioural self-portrait. Even if the way the robot RNP draws is based on Tresset’s technique, its style is not a pastiche of Tresset’s, but rather an interpretation influenced by the robot’s characteristics.
Patrick Tresset is a Brussels-based artist who, in his work, explores human traits and the aspects of human experience. His work reflects recurrent ideas such as embodiment, passing time/time passing, childhood, conformism, obsessiveness, nervousness, the need for storytelling, and mark-making. He is best known for his performative installations using robotic agents as stylized actors that make marks and for his exploration of the drawing practice using computational systems and robots.
He attended Goldsmiths College, London, for a master’s degree and then an MPhil in arts and computational technologies. Aside from his artistic practice, in 2013, he was a senior visiting research fellow at Konstanz University and is currently an adjunct assistant professor at the University of Canberra. His past research work is referenced in more than a hundred academic publications in various fields (computational graphics, drawing, psychology, AI, robotics).
His works have featured in numerous media, including; Art press, Art review, Beaux art, Frieze, Arte, Form, Wired, Vice, BBC, DeWelle, Le monde, New York Times.
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