ABSTRACT
Conservation science has long employed analytical imaging techniques as core methodologies in the production of material data for art historical analysis. This chapter examines the exhibition Henry VR, held at the Art Gallery of New South Wales. Henry VR was designed to deliver an immersive sensorial experience regardless of the modalities discovered by the user. Three-dimensional modelling of the workshop and furnishing objects was completed using Blender 3D, an open-source computer graphics and animation application. Debates led by Bruno Latour and Adam Lowe reconsidered the philosophy of object copies. Henry VR built on a previous experiment in the immersive visualisation of conservation data by P. Dredge and A. Yip. Henry VR demonstrates that, by employing immersive and embodied visualisation methodologies, it is possible to identify numerous categories, or models, for authorship from stylistic and technical examination of paintings, and from the sensorial interpretation of documentary evidence.
