Interview: Craig Hepburn 
Luca Curci talks with Craig Hepburn during VISIONS, third appointment of CANVAS INTERNATIONAL ART FAIR 2024, at Palazzo Albrizzi-Capello in Venice.

The Visual Aye is the artistic identity of Craig Hepburn, a digital artist and designer who creates immersive artworks, furniture, and interiors. Combining traditional art principles with contemporary media, The Visual Aye bridges the physical and digital worlds, crafting tense, atmospheric works with a distinctive aesthetic.

My work explores the interplay of light, form, and texture, merging classical artistic techniques with cutting-edge digital tools. Each piece invites viewers to reflect on aesthetics through its own narrative, evoking a range of responses from sensuality and architecture to explorations of the mundane and commercialism. With a focus on precision and nuance, my work navigates abstraction, physicality, and hyper-realism, engaging with contemporary themes through a compelling visual language. The creative process is rooted in meticulous digital sculpting, advanced lighting simulations, and texture creation. By combining these techniques with a methodical, iterative refinement process -akin to scientific and mathematical modeling- I generate countless variations before achieving the desired aesthetic. Notably, no AI is involved at any stage; every piece is manually crafted and refined through personal expertise. This rigorous approach, blending technical precision with artistic vision, ensures that The Visual Aye delivers a visually engaging and thought-provoking experience.

Luca Curci – What is art for you?
Craig Hepburn – Art, for me, is the pursuit of beauty, particularly through form, composition, and light. From an early age, I have been captivated by proportional aesthetics, a fascination that has become a defining element of both my digital art and physical designs. I strongly believe that the difference between art and design lies in function, where design necessitates a purpose regardless of its simplicity. My digital art, by contrast, is a deliberate and therapeutic process, where every detail of light, colour, and texture is carefully calculated, re-calculated, and refined until I am satisfied with the aesthetic. There is as much mathematical and scientific input in my work as there is artistic and creative practice, with the two disciplines constantly informing one another.

LC – What are you currently working on?
CH – Currently, I am focused on two series of landscapes. The first is a collection of Scottish landscapes inspired by the homogenous quality of my homeland. This series seeks to capture the timeless beauty and romantic mystique of the terrain. The second series explores the Venetian lagoon, focusing on its serene interplay of water, horizon line and architecture. Venice offers a contrasting yet equally compelling challenge due to its unique atmosphere of tranquillity and grandeur. Both series demand meticulous attention to detail, from crafting natural habitats, mountains, the sea, and environmental effects such as fog. The challenge lies not only in the extensive sculpture and texturing but also in capturing the distinct essence of these environments through computational lighting techniques.

LC – Among the several techniques you use, which one do you prefer to practice and which are most compelling for you?
CH – The techniques used in the landscape visuals are completely new compared to the usual techniques used within my interior or product scenes. I am particularly drawn to chiaroscuro lighting techniques, which allow for dramatic interplay between light and shadow. Coupled with compositional tension this approach creates a sense of poised dynamism and balance within my work. This is visible in a series of renders named ‘The Tatties’ where I specifically recreated a diffused, single-point lighting setup for the interior which enabled me to create a soft portrait quality to the interior whilst highlighting the subject. By executing these classical principles with contemporary tools, I can evoke both movement and stillness, inviting the viewer to engage.

LC – What do you think about art on social media? Are they turning into the new showcases of contemporary art? 
CH – Social media has undoubtedly become commonplace for sharing and finding art, especially for digital artists like myself. It offers accessibility and immediacy, enabling creators to showcase their work without the constraints of traditional gallery spaces. However, it also drives a demand for “content” rather than contemplation or progress. The rise of mobile devices has added new dimensions to how art is presented, shifting between square, landscape, and portrait formats. This constant flux challenges artists to adapt or even re-compose their work for varied viewing experiences.

LC – What issues do you intend to deal with in the future?
CH – An issue within the contemporary art world is the widespread under-appreciation of the complexity and labour intensive nature of creating computational artworks. Too often, digital artists are constrained by the need to commercialise their practices, limiting opportunities for pure artistic exploration. Looking ahead, I aim to address the growing demand for digital art by advocating for greater recognition of the skill, time, and precision required. Even with the rise of AI, the need for thoughtful, human-led artistry will persist. I believe that it’s essential for the industry to provide meaningful support to digital artists, enabling them to focus on advancing their craft.

LC – Your last artistic production attracted us, has the artwork presented been created for the exhibition or as a part of preexisting works?
CH – The artwork is part of an existing collection but was carefully selected to align with the curatorial theme. Nude Geometry is part of my Foundational Hues series, which explores beauty and identity through abstract and primitive compositions. The series is characterised by geometric forms, refined textures, and a carefully curated palette inspired by skin tones and cosmetics.

LC – Do you agree with our vision of art and what do you think about the theme of the exhibition?
CH – The exhibition theme is topical and broad enough to attract artists from multiple backgrounds, locations, and ages, which creates a vibrant and diverse atmosphere. It feels very inclusive, and it was exciting to see how different artists interpreted the theme across different mediums. Being part of such a dynamic exhibition, especially during La Biennale, was a rewarding experience.

LC – What do you think about ITSLIQUID Platform?
CH – ITSLIQUID were very professional and warm hosts. The platform provides a fantastic opportunity for entry-level artists like myself to showcase work in prominent locations and gain valuable exposure. The supportive environment they foster makes it a welcoming space for emerging talents.

LC – What do you think about the organization of our event?
CH – The events I participated in were well-organised and engaging, making the experience enjoyable for both artists and visitors. The event spaces were professionally planned and presented, with the artwork displayed in a manner befitting the grandeur of the locations. Venues, such as Palazzo Albrizzi in Venice, were not only exceptional in their own right but also perfectly situated amongst other recognised galleries and institutions.