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Dario Lanza | OMICS International
ISSN: 2090-9888

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Dario Lanza

Dario Lanza Professor of Digital Rendering Rey Juan Carlos University, Madrid


Studies in Computer Science and Programming at Massachusetts Institute of Technology [MIT], Postgraduate studies in Computer Graphics from the Universidad Rey Juan Carlos [2010], Master degree in Digital Modelling and Rendering from Aula Tematica [2004], and D.I. degree in Engineering from the Universidad Politecnica de Madrid [1999], currently developing a PhD Thesis about digital matte painting. After graduating in engineering, started a career in visual arts as commercial designer for high-end advertising agencies and magazines like BBDO, Leo Burnett or El Mundo magazine, winning several awards and recognitions as visual artist. Lecturer and author of a book and papers about the role of computers in the production of contemporary art today, his artworks has been exhibited in galleries across the world including New York, Hong Kong, Madrid and London. “ Like many children of my generation, I acquired my first computer in 1984, the iconical ZX Spectrum 48k. Since that very moment, I felt that small device was a powerful creative tool right in my hands. Today I combine my post as Professor of Rendering Technologies at the Universidad Rey Juan Carlos, Professor of Audiovisual Workflow at the Universidad Politecnica de Valencia, courtesy appointments in several art schools and lecturer in various events about computer graphics, with my work as Render Specialist at Next Limit in the development team of Maxwell, a state-of-the-art technology for digital rendering. I'm specially interested in the way digital technology is altering the production of art today, and its potential to define our aesthetic experience and give shape to our digital culture. In my works I research the unexplored expressive capabilities of the digital media, by creating images that result new and suggestive, while unleash visual associations. My interest is mainly based on both our attitude in front of the images created by the computer, and the attitude of the computer in from of us. In my particular position as both producer of artwork and involved in the development of software for other creators, I perceive this as a truly momentous for both art and technology realms, and the constant feedback they are now sharing. In my work as render specialist in the development of a render engine, I developed a strong technical understanding of the software and the generation of synthetic images, deep enough to be able to synthesize images that don't look synthetic at all. In fact, far from resulting artificial, the images result strangely natural and close. To achieve the desired results, I had to develop custom specific rendering procedures, altering the usual way the softwares were designed to work, in order to achieve certain specific aesthetic. The magnetism of these images refute the stigma of artificial and soulless that is usually associated to computer art. The meticulous elaboration behind each image becomes transparent, the technology finally disappears, and the images leave us alone in front of an emotional observation. Formally speaking, my images moved from a spotless photorealism to a sort of abstract aesthetic in my latest projects. Images like the Poetry from a Computer's Mind series were designed by using the programs in their regular procedure, but to achieve the appeal of the Visions of the Infinity series –an essay about the emotional influence of deformed light– I needed to develop a custom workflow, deconstructing the whole digital procedure and recombining the resulting components in an unusual way, which ends with a suggestive look while still retain a sense of familiarity in the final output to keep calling the viewer emotional background. In all cases it is clear my very personal involvement with the subject treated. ”

Research Interest

After Effects, Contemporary Art, Matte Painting, Computer Graphics


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