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I would like to create a sculpture of my own torso that, when placed against a black background, would appear as if illuminated by a strong, contrasting light. Only the part visible in the light would be the sculpture itself. This represents how only a portion of our identity is ever truly seen, the part that is currently in the spotlight or the center of attention, while the rest remains hidden. It is not finished yet.

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it was made with charcoal if I remember correctly I had 10 minutes

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I tried to create organic forms by mixing different clays.

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Almost monochrome I used black white red yellow ochre 

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To design a group of sculptures from ceramics that have some connection, but can also be interpreted separately. According to Buddhist medicine, anger, fear, hesitation, anger and desire bend the spine in different ways. I wanted to express these states.

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Different types of clay have different thermal expansion and firing temperatures, so success is possible.

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From an outsider's perspective, there is a certain romance in portraying a nude figure, but this quickly dissipates when I stand at the easel. During warm-up gesture sketches, which only last 5-10 minutes, I must quickly translate my ideas without overthinking, as there is no time for reflection. My usual challenges include aligning and centering the figure on the paper, accurately capturing all the main body parts, and managing space—often I start somewhere, but not everything fits onto the sheet, especially the parts I find most difficult, like the hands and feet.

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Ceramics are non-metallic and inorganic, made from raw materials that are either mined from the earth or created through chemical processes. I often forget this when I’m kneading the clay, though. When I think about how porcelain is just clay, or how those fiber optic cables that give us crisp voice calls are actually ceramics, or even how the space shuttle is insulated from super intense heat with ceramic materials, I realize I need to let go of my usual ideas. There are so many different things you can create with ceramics, and it doesn’t always have to be functional—it's a perfect material for experimenting. Of course, I also make work related to my project, but the material itself sparks my creativity, and I always end up coming up with a few spontaneous ideas just because of that.

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This is an old obsession of mine – errorism. I've played with all sorts of things, from randomness to errors. This sphere only becomes functional through a break or a crack, through an error, through something that speaks of its destruction.

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So, in my life drawing practice, I've been trying to make more and more high-contrast images, focusing on the parts I can leave out

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My goal was to reach that limit when the forms lose their primary meaning, the plant is no longer a plant, the face is no longer a face, but becomes just a form, rhythm and organic part of the picture.

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The whole process was an experiment, there was no end goal for the images, but I was turning both the shapes and the paints into each other and constantly rearranging them. This process continued until the colors became dull and turned into a grayish brown mass.

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In my sketchbook, I don't separate the preparatory drawings because I'm constantly doodling. This way, sketches for different projects can be on one page.

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Ink painting thermal images presents unique challenges. First, color translation is difficult. Thermal cameras use a temperature-based color spectrum (e.g., blue for cold, red for warm), which is completely different from reality. Reproducing this abstract color palette in ink while still conveying temperature gradients requires a great deal of color expertise and experimentation.

Second, the lack of texture makes the job difficult. Thermal images often lack the usual texture information, making surfaces appear smoother and more blurred. While the natural flow and layering of ink can help create smooth transitions, it can be challenging to convey recognizable shapes and surfaces.

Third, representing depth and form can also be difficult due to the unusual colors and lack of texture. Thermal camera images often appear flat, and ink alone is not always enough to reproduce the three-dimensional effect and detail without the usual visual cues.

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The Memory of Arpita Singh presents the most important works of her career spanning more than six decades. Singh's paintings explore surrealism, figurative works, abstraction and sources of inspiration drawn from Indian court paintings. They show the changes in personal and social conditions. At the center are the themes of women, aging and violence as a psychological map. The many watercolor paintings seem as if she is a kind of graphomaniac, only in painting she records everything that happens around her and within her.

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Giuseppe Penone: presents more than five decades of his work, including sculpture, drawing, painting, installation, and photography.

A leading figure in Arte Povera—an influential movement that emerged in Italy in the 1960s that celebrated the simplicity of natural materials and artistic techniques—Penone experiments with a variety of materials, including wood, iron, wax, bronze, terracotta, marble, and plaster, highlighting their unique physical properties.

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The infrared camera is used in psychology to map emotions. What is only indirectly accessible to the human eye, photography and film, is shown by infrared rays. These images are closer to abstract representation methods, such as classical realist imagery. I also try to create a relief with acrylic painting, where I would use colors similar to geographical reliefs. only here emotions represent intelligent body heat, emotional intensity is the emphasis, dark colors represent low body heat, depth. This makes emotional intensity plastic.

This is a small sketch where I try out the use of materials and technique

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Jonathan Crary’s book Techniques of the Observer inspired me to conceive of the final project and to include the thermal camera. This book reinterprets 19th-century visual culture and social modernity. Rather than focusing on artworks, Crary analyzes the historical construction of the observer, arguing that vision is deeply tied to social power. He details how vision became a physiological event within the body from the 1820s onwards, leading to theories of “subjective vision” that offered both observer autonomy and new forms of control. Crary explores how optical devices such as the stereoscope and pre-film technologies emerged from this new physiological understanding, revealing that these “realist” forms of mass culture were actually rooted in abstract models of vision, predating the move away from mimetic representation in modernist painting.

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I couldn't make the stained glass picture because I ran into a series of problems (the color samples didn't give strong enough colors, so I needed special worm glass and bullseye Firt, which are not available in London, only online. The thermal camera didn't work either, and I had to order another one, etc.) so I had to look for another solution.

Since the thermal camera image is suitable for non-invasively recording physiological changes that are related to mental states, I recorded myself in different states. The failure of the stained glass picture was a disappointment at the end of a tiring and frustrated day, so when I got home, I experimented with the snow camera and took a few pictures. At that time, I didn't know what would replace the stained glass and how I would solve this problem. The next day, I had my tired and frustrated portrait from the previous day painted. (40,5x52 cm acrylic)

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The thermal camera has arrived, which takes images based on heat signals rather than light, thus creating unique and often abstract visual representations. Now I try to take as many spontaneous pictures as possible, (where I document myself and my family in different mental states in a fairly non-judgmental way. They don't object to it either. I use these images for my work.

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Picturing the Invisible: Blending Science and Art to Give New Perspectives

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Picturing the Invisible: Blending Science and Art to Give New Perspectives

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The exhibition “Illustrating the Invisible: Combining Science and Art for New Perspectives” is incredibly inspiring for my thermal imaging paintings. The project demonstrates how science and art can be combined to present invisible phenomena such as heat in new, interpretable forms. This approach helps to capture not only the thermophysical properties, but also the emotions and stories conveyed by heat. The exhibition shows that technology is not just a tool, but also a means of creative expression and the discovery of new perspectives.

https://www.flir.co.uk/discover/instruments/picturing-the-invisible-blending-science-and-art-to-give-new-perspectives/

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Picturing the Invisible: Blending Science and Art to Give New Perspectives

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“Picturing the Invisible” is then both an apt description of thermography and the title of Dr. Makoto Takahashi’s art exhibit, dedicated to the 2011 Tōhoku earthquake and tsunami that struck eastern Japan. With the help of his students at the Technical University of Munich, the exhibit brings together several talented photographers, essayists, and a FLIR T-series camera to immerse outsiders in the world of those effected by disaster.

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This artist's statement is incredibly inspiring for my own thermal camera work because it deeply resonates with my intention to make the invisible visible. I'm particularly captivated by the idea of global warming as a "hyperobject" that's so imperceptible in our daily lives, especially in the West where we often feel isolated from the direct impact of weather. The text highlights the cognitive dissonance involved – how challenging it is to grasp a problem whose causes and effects are displaced both in time and space.

For me, this approach is key: the thermal camera, as a scientific tool, allows us to peer into this unseen world. The notion that human bodies, at night, "illuminate" their surroundings with their radiant heat is a beautiful and powerful metaphor for how we're warming the planet, and perhaps even how we influence each other and reveal our true intentions. These images don't just provide technical data; they can also offer a deeper, symbolic layer that I aim to emphasize in my own creations.

This interdisciplinary thinking – the fusion of science and art – is an absolute cornerstone of how I strive to create my thermal camera images.

https://www.adamsebire.info/the-works/in-the-heat-of-the-moment

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LATEST THERMAL IMAGING WORK
Feeling the Heat (2019)
Thermographic video triptych for exhibition spaces.
3x screens or projectors: wings 4:3 aspect ratio, centre HD 16:9 or 4:3 on request.
3x media players ( Lūpa recommended), stereo audio. Dimensions variable (previewed below as split-screen).
Duration: 15'00"
Video by Adam Sébire (PhD student, UNSW Faculty of Art & Design), music by Martin Franke.

How do climate scientists, working on the front line of a problem that's invisible to most of us, respond to it as human beings, as citizens of the planet?

Feeling the Heat is presented as a visually spectacular triptych featuring rare thermographic imagery of natural and built environments and, in between, climate scientists interviewed with their own thermal imaging equipment. They're literally feeling the heat of the moment.

The work explores a new approach to climate change communication, freeing normally objective professionals to talk to us in a subjective, even passionate manner. How do the disturbing implications of climate change affect the scientists tasked with studying it on a personal level? Despite the existential dimensions of their research they're usually expected to eschew emotion, adhering to detached, dispassionate modes of the scientific method lest it taint their empirical assemblage of evidence. But even when they do so, they may find themselves targets of those who would rather not hear their rationalised conclusions.

The artwork forms part of Adam Sébire's PhD research into aesthetic visual representations of climate change. His collaboration with climate scientists uses a thermographic imager normally employed to measure leaf temperatures during heatwaves. The infrared thermal interviews 'cloak' the scientists visually as heat data, allowing them to speak candidly and personally, whilst engaging a wider audience.

There is increasing literature documenting scientists' despondency ('climate-related depression'). Clive Hamilton describes them as "modern-day Cassandras" whose warnings go unheeded. Their research often requires them to "think the unthinkable" as they venture to the far end of probability curves. Their recommendations follow the Precautionary Principle - hoping for the best while preparing for the worst. Yet the science of climate change is all too frequently eclipsed by its politics and the temptation of some is to shoot the messenger. Any expression of an emotional response to a problem which threatens to make the planet unliveable for many of its species therefore remains taboo, and climate science communication is largely confined to probabilities, tables, graphs and data.

Scientists, for their part, often assume that given enough of the right information people will modify their behaviour accordingly. However climate change is proving that a response takes more than knowledge of the scientific consensus. Psychology research suggests an emotional connection is necessary. For a problem with such major implications, a dispassionate presentation of evidence may not help its societal acceptance. And so this work offers viewers a different point of entry.

ARTIST STATEMENT
I'm interested in the everyday (im)perceptibility of global warming to those of us living typically hermetic existences in the West. Insulated from the vicissitudes of weather it's easier for us to ignore looming climatic upheavals when there's little or no direct experience of them to confront.

The effects of climate change are furthermore displaced from their causes both in time and in space, creating a cognitive dissonance in our ways of thinking about the problem. Its difficult spatio-temporal dimensions lead philosopher Timothy Morton to conceptualise global warming as a vast 'hyperobject' demanding new aesthetic approaches which straddle the visible/invisible, here/there, and past/present/future.

And so I use thermography (infra-red heat photography*) to explore the sensory imperceptibility of anthropogenic warming. As part of my search for an aesthetics for the Anthropocene I struggle with these extremely cumbersome and low-resolution, yet fascinating scientific instruments. My models and I must shoot at night: the camera is uninterested in visible light, and in the lower temperatures after sunset I noticed that human bodies 'illuminate' the surrounding environment with their radiant heat, a metonymic visualisation of how some members of our species are rapidly warming the planet.

This photographic series (Lambda prints on Endura Metallic paper) is part of an ongoing (2015- ) interdisciplinary science/art project. The artworks are created with a high-resolution thermal imaging camera loaned from scientists at the Climate Change Cluster (C3) and School of Life Sciences at the University of Technology, Sydney - to whom I'm enormously grateful for their advice, trust and generosity.

* Is it indeed photography? In Wikipedia's definition, yes: "Photography is the science, art, application and practice of creating durable images by recording light or other electromagnetic radiation, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film..."

Above: Infrared thermographic panorama, Blue Mountains, Australia #IR001251-62
On 29 August 2016 scientists met & concluded (subject to ratification) that we've left the Holocene: the 12,000 years of relative climatic stability that enabled human civilisation. The 'hyperobject' of global warming is here explored with a thermographic imager and recorded in the early years of the Anthropocene.

(Right: enlargement of the image reveals the raw heat data values of each pixel)

exhibition: in the heat of the moment

Artist: Adam Sébire

An interdisciplinary art/science exploration of the sensory (im)perceptibility of anthropogenic global warming.

The exhibition comprises thermographic stills & video art of bodies in Australian bush landscapes, created using a high-resolution thermal imager loaned from the UTS Climate Change Cluster (C3) as part of a Culture at Work residency.

Thursday 4 June - Monday 8 June 2015

Exhibition open 12:00-17:00 daily incl. Monday public holiday
Opening drinks Thursday 4th June 18:00-20:00
(short artist's talk and introduction by Prof. Bruce Milthorpe, Dean of Science at University of Technology Sydney at 19:00)

venue: Accelerator Gallery, Culture at Work
6 Scott Street, Pyrmont, Sydney, Australia (light rail: John Street Square)

About the works:
Thermography aims to record and visualise the in visible: infrared heat data.

The United Nations' Intergovernmental Panel on Climate Change (IPCC) has gathered evidence that our planet's surface temperature has already risen by an average of 0.89ºC over the period 1901-2012 - and sea levels by 19cm from 1901-2010* - yet these figures rarely make themselves apparent in our daily lives.

For global warming is what philosopher Timothy Morton terms a hyperobject - "an entity that is so vast and so long lasting that we humans only see pieces of it at a time". Furthermore, its effects develop in spatial and temporal dislocation from their causes, making them difficult to represent in a society which emphasises "seeing is believing".
Until it's too late, that is.

in the heat of the moment thermographically images nudes in Australian bush environments to explore - on an aesthetic level - anthropogenic (human-made) global warming. It uses a high-resolution thermal imaging camera generously loaned from Dr. Andrea Leigh in the UTS Climate Change Cluster (C3), where it's used to analyse leaf temperatures in Australia's arid zones. Higher resolution imagers than this are restricted technology due to their military applications. The imager records hundreds of thousands of points of heat data in infrared wavelengths before data visualisation in colour spectra apprehensible to the human eye.

Over many months I learnt to use the device, experimenting with its data aesthetically through cinematic techniques such as depth of field, mise-en-scène, camera movement, and slow motion. By adjusting the device's parameters in ways probably unintended by its engineers, the resultant thermograms take on quasi- Fauvist qualities.

In these videos and stills nature is brought to the fore whilst the defocussed nude figures punctuate the night scenes' backgrounds with their radiant heat, illuminating and silhouetting the foliage. In the video works they leave behind heat prints on their surrounding environment. In this way thermal imagery perhaps offers us a non-human perspective on the Anthropocene.

- Adam Sébire, June 2015.

*REFERENCE
Working Group I Contribution to the IPCC Fifth Assessment Report, Intergovernmental Panel on Climate Change. "Climate Change 2013: The Physical Science Basis." Stockholm, Sweden, 2013. 6, Section B4.

You can read an interview with Adam about his artwork around global warming and the Anthropocene on Climate in Conversation (July 2016) or download the PDF, right:

Some more recent field experiments with the infrared imager are below. These images are for sale as stock photos:

dance performance: melt (in the heat of the moment)

Filmmaker/Artist: Adam Sébire
Choreographer: Robyn Seiboth
Dancers: Sally Biermann, Lisa Roberts, Robyn Seiboth

Using the same techniques as described above, live projections of thermographic dance were created for the BEAMS Festival, Chippendale Creative Precinct, on the evening of Saturday 19 September 2015.

The dancers were rear-projected realtime from within a disused shop onto its glass coated with Greek yoghurt - to form a screen for the thousands of Festival-goers outside. The live dance was interspersed with thermographic images of rural and urban environments (see video below) while the performers took breaks. The choreography explored how the heat energy of our bodies shapes the world around us: from the way touch changes personal relationships - to a global level, where our actions (and inactions) warm the planet.
(Behind the scenes documentation courtesy Lisa Roberts on YouTube.)

Stills below (click for enlargement):

Some thermographic video tests & excerpts.

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Thermographic thermal imaging art - Adam Sébire

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Stills photography and video art using thermal imagers, cameras for thermographic heat measurement and data visualisation. Adam Sébire borrows cameras used to document climate change and global warming to create artworks for gallery and museum exhibition. Thermography offers an aesthetic for the Ant

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My starting point was that in the image recorded by the thermal camera, the heat emitted by the person also refers to the emotions of the person. If I perceive this image as a 3D image, the warm, active parts stand out, the nervous, passive parts are reflected, which creates a hump. Following the example of 3D mapping technology, it is possible to represent the emotional state in 3 dimensions, which means that the objects are mapped along the x, y and z axes. The picture was taken of my own child when he was looking for his mother's comfort after a small accident. Cardboard painted with acrylic 20x20 m

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Now I just need to make a black box, put it in it and cut a window, and hopefully it will give the effect of the rest of the statue being there but not visible.

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Now I just need to make a black box, put it in it and cut a window, and hopefully it will give the effect of the rest of the statue being there but not visible. I imagine it this way