Greg Sims, a jewelry designer and digital fabrication instructor at OCAD University, shares insights into his evolution from traditional craftsmanship to embracing digital techniques. Initially skeptical of casting and mold making, he favored direct fabrication with precious metals and gemstones. However, a project involving wedding bands changed his perspective, leading him to realize that success lies in how materials are handled and presented rather than the technique alone.
Sims emphasizes the transformative impact of digital design and fabrication, which offer limitless possibilities for creativity and innovation. He discusses curated exhibitions showcasing designs that blur the lines between prototypes and final products, leveraging advanced technologies to create unique outcomes.
Highlighting examples like Eric Klarenbeek’s Mycelium Project and Nervous System’s customizable jewelry, Sims explores the intersection of digital and material worlds. He lauds Emerging Objects’ pioneering use of natural materials in 3D printing, challenging the notion that digital production disconnects us from craftsmanship.
Sims concludes by emphasizing the importance of individual creativity in leveraging technology to create meaningful objects that connect with people, inviting us to reimagine our relationship with the things around us.
This presentation was part of the symposium Unhanded. In this panel we ask about the variety of new relationships with materials that emerging with the increasing ubiquitousness of digital technologies. With the increased complexity of tools we wonder how do we learn about materials? How do we get to know them? How do we share this knowledge? We can now know the molecular structure of wood or metal without touching it. Is this a more intimate relationship than working directly with our hands? Does it matter? If the objects coming out of digital and mechanical processes are more removed from our handywork, how might they carry the mark of the machine? Should we be able to read the machine in the material?
Greg Sims is an artist, designer and educator based in Toronto, Canada. He completed his undergraduate studies at OCAD University and later pursued post-graduate studies in England at the School of Jewellery- Birmingham City University. Since completing his MA degree in 2003, Sims has taught extensively at NSCAD University in Halifax and more recently at OCAD University. He teaches studio courses from Introductory to Master’s level, as well as developing curriculum and teaching courses in digital design and fabrication.
Greg Sims’ work has been exhibited nationally and internationally. With a sense of humour, Sims’ work challenges conventions, finding new and meaningful expressions that question the role of jewellery within society. His interest in innovative methods of production and industrial techniques, combined with a vast knowledge of materials have led to many opportunities beyond jewellery. In 2013 Sims, organized and curated Making It Real, an international exhibition of digitally fabricated objects. From 2007-11, he worked as a design engineer with the @lab research facility at NSCAD and Dalhousie University, designing and manufacturing collapsible, responsive structures on an architectural scale (tents, stage sets and furniture). He continues to design and manufacture prototypes and products for various clients as well as building an active studio practice.
There is vast potential for objects to connect us, to relate, to convey our thoughts and ideas, to reflect and interact and tell stories about our lives.
Artengine’s Artistic Director Ryan Stec in conversation with Digital Economies Lab (DEL) participant, strategist, designer, artist and independent creative director, Julie Gendron, where they discuss Gendron’s work on the Offer Need Machine (ONM). Within this discussion Gendron addresses quantifying value by breaking down the mechanics of trust, recreating the ephemerality of chance interaction, and rating and evaluating with care.
