In a groundbreaking innovation that is set to revolutionize the dissemination of visual art, Acrylic Robotics, an art-tech start-up based in Montreal, is harnessing the potential of robotics and artificial intelligence. The focus, reproducing artwork at scale — an opportunity with immense potential, envisioned and brought to life by Montreal artist and mechanical engineer, Chloe Ryan.
Founder and CEO of Acrylic Robotics, Ryan’s inspiration rose from a simple yet profound realization. While every art form has, over years, developed mechanisms to reproduce and thereby reach larger audiences, visual art remains confined to its original copies, limiting its reach and accessibility.
A comparison illuminating this disparity is that of writers, no longer tasked with manually inscribing manuscripts, allowing everyone to access their literature. A similar privilege though, has circumvented painters, slowing the diffusion of their craft.
Ryan’s initial brainchild was a robot to expedite her painting. While this innovation significantly streamlined her work, it also sparked an idea – If the tool was incredibly beneficial to her, it could significantly influence the work of other artists too. This aspiration transmuted to a corporate dream.
The core of Ryan’s pioneering concept was to address the question, “How do we make painted art at scale, supporting independent artists, while making fine art more accessible”.
Ryan’s solution materialised as a digital system, enabling artists to digitally mark all their brush strokes. Following the upload of the brush stroke data, Acrylic’s robots – equipped with paint brush attachments, meticulously emulate the original painting.
The significant leap of this innovation lies in artists’ potential of marketing their work. As opposed to selling a single original artwork for substantial amounts such as $5,000, artists can now provide a limited edition collection at lower prices, making it more accessible, without compromising on their income.
Ryan unveiled her innovative robotic technology at the Hardware Tech and Founders Showcase in Toronto, demonstrating the prowess of a mechanical arm, flawlessly emulating brush strokes on a canvas — a direct reproduction of digital files.
The display included two robotically replicated paintings of a lion’s head, originally by Toronto-based artist Matt Chessco, who collaborated with Acrylic for a pilot project. Although almost identical, keen observers could spot minute discrepancies in the brush strokes, a prospect that Ryan suggests, enhances the allure of each piece.
Initial concerns of achieving near-perfect replicas to avoid the artist community’s wrath were calmed, as it was discovered that artists appreciate a certain degree of imperfection. This aspect not only maintains the authenticity and uniqueness of each piece but also distinguishes them from mass-produced art.
Ryan, ensuring high standards, is keen on maintaining consistency. However, due to natural factors like the paint mix and brush dipping techniques, minor variations may occur. But the aim remains to make each piece as identical as possible after quality assurance checks and necessary rejections. This assures that the spirit and intent of each artist’s work are seamlessly conveyed, maintaining the harmony between art and its mechanical replication process.
