I was born and raised in Canada. As a teenager my family moved to Israel, near the Mediterranean sea, which is where I currently reside. I’ve been a 3D artist in the post production industry for quite a while now, focusing on design, modeling and shading. Most of my commercial work has been the creation of visual content for television commercials, visuals for music and the like. I’ve always created visually in some form or other and was always drawing and doodling at an early age. In addition to commercial work, I now create art in my spare time under the Dexamol persona.
How did you get started in 3D modeling/graphics?
A friend introduced me to 3D Studio R4 for DOS in the 8th or 9th grade. This was before most programs ran on Windows / Mac OS / Linux. I recall rendering a sphere for the first time and being able to save it as an image file which completely blew me away. I realized that one could potentially fill those pixels with anything imaginable given enough time.
Do you have a particular workflow or approach to a creative project?
There seem to be two major points of entry for me into a new project at the moment;
The first one is wanting to create the images I would like to see but I feel are missing. So this can be for instance, wanting to see a very specific type of design or idea fleshed out which I can’t seem to find anything close enough to.
The second is taking a visual idea that interests me and telling a story about it. The full story almost never ends up in the art itself, but is the world in which the art exists.
You draw a lot of parallels between aquatic life, insects and bio-tech. What can the organic and mechanical worlds learn from each other?
This is a great question! The references to arthropods and mechanical technology in my work, are done in a way as to submit the idea that everything that exists is natural. Human technology is a fruit of the human race, and if we deem our origins as natural, then no distinction need be made between the two.
The boundaries we create between dichotomies such as Natural ↔ Artificial, Real ↔ Unreal can be suspended.
So in this way, organic machines and mechanical ones are the same. About the level of sophistication, our mechanical tech can stand to learn much from the organic world at the moment, biomimicry being the beginnings of this avenue of pursuit. By displaying the artificial in a natural way, the audience is invited to question and explore their views on these subjects, even if only on a subconscious level. I’m less interested in criticizing or applauding specific technologies. Technology itself cannot be responsible or irresponsible since it is only a tool but its creators and users can. The way we use and develop it, exposes our species’ psyche.
A lot of your projects feature dark elements and playful colors. What got you started using this combination?
I’m aware that some subject matter I use might be considered “dark” by some. Even though my work doesn’t use the usual “dark” symbolism such as skulls, blood etc. My interest is in the most complex as well as the most simple; Finding a way to convey both at the same time, is often a challenge and goal.
Instead of just saying “Here, fear this!” I find it more interesting to present something odd or uncomfortable in a playful way. I think a lot of people are bored of being told what to feel about fear, death and other subjects that are completely natural.
When creating your unique creatures do you enjoy the modeling process or the texturing them more? Why?
I love them both, yet I’d have to say I enjoy the shading and lighting process more. Even the best model fades away in the dark, but good materials and lighting can make a regular sphere look amazing. Also, once a model is done the form is pretty much set, yet color combinations, materials and lighting allow for a plethora of varied visual results for the same model.
What is a new skill you’ve added into your process recently?
Two recent skills I’ve added are motion tracking and procedural modeling.
- Motion Tracking is the process of generating a digital camera and world coordinates from video such that 3D elements can be added that match the original footage. The example would be adding 3D objects into a video taken in the real world, and being able to match the camera movement and lens distortion perfectly.
- Procedural Modeling enables me to create a pipeline that outputs geometry while allowing for some randomness in the process. For instance, I have recently defined an algorithm which outputs mechanical looking insect exoskeletons. The original design is done broadly and connected to the algorithm. My predefined procedure quickly offers me many variations according to the rules laid down.
Choose subject matters that deeply and genuinely interest you.