Showing posts with label digital collage. Show all posts
Showing posts with label digital collage. Show all posts
Wednesday, 15 December 2010
Digital Collage
Christiane Paul points out that “digital technologies offer an extra dimension to the composite and collage”. That “extra dimension” lies in the capability to blend “disparate elements… more seamlessly”. The digital collage/image generally presents us with a “simulated form of reality” that “often constitute a shift from the affirmation of boundaries to their eradication” (2008, p.31).
Thursday, 18 February 2010
Current Developments: 6
More work with slight modulations in brightness and contrast.
Woodgrain and reflections:
Woodgrain and reflections:
Tuesday, 16 February 2010
Current Developments 5
New work: new developments.
The painted surafaces fuse with photographic imagary from screens depicting trees and natural forms.
The orbs of light seem to reveal spaces, like those within dark rooms.
The painted surafaces fuse with photographic imagary from screens depicting trees and natural forms.
The leaf motif recalls the photogram and the early experiments of Fox-Talbot.There is also the beginnings within this picturing of a fusing of other media: televisual/stills from the 1940s film Great Expectations. It also includes photographs of real objects, spaces and places.
The imagery draws upon a wealth of technologies and there histories. There is solarization, photogram and negative imagery. Slight modulation in opacity of one layer of imagery can have a profound effect on the image as a whole.
Solarization, light bursts and a silvery colour add to a kind of nostalgia or longing that is provoked by the medium of photography.
Current Developments: 4
Max Ernst once described how he struggled to make pictures and with what he called his "Virgin complex" when faced with a blank canvas. The digital void of the blank page in a computer program offers similar challenges: the white page as much as the black one: voids, darkness, the empty spaces of a Malevich white on white painting or a black on black Rodchenko abstraction. To get round the digital blank "canvas" other materials can be scanned and manipulated. Is the black of a monitor screen the same as lamp black oil paint or acrylic?
This sequence of images were produced through the use of collage and painting. Here we see the use of mixed-media; card,glue and paper. The paint is a mix of lamp black and Prussian blue. The use of these colours are largely inspired by the work of Richard Diebenkorn. Other abstract painters are influencing this approach: notably the abstract expressionists and the early abstractions of Rauschenberg.
It does loosely resemble Nocturne in Black and Gold: The Falling Rocket (above) by Whistler.In response to the picture Ruskin said that Whistler was “flinging a pot of paint in the public’s face " .
The modulation of some of the areas of the picture result in the appearnce of orbs of light.
By creating a pooling of light the work suggests a connection between the various media being used. The light pools recall Vermeer’s pictures where he employed a camera obscure. It connects early lens and photographic technology in one space; one picture.
This sequence of images were produced through the use of collage and painting. Here we see the use of mixed-media; card,glue and paper. The paint is a mix of lamp black and Prussian blue. The use of these colours are largely inspired by the work of Richard Diebenkorn. Other abstract painters are influencing this approach: notably the abstract expressionists and the early abstractions of Rauschenberg.
It does loosely resemble Nocturne in Black and Gold: The Falling Rocket (above) by Whistler.In response to the picture Ruskin said that Whistler was “flinging a pot of paint in the public’s face " .The format of this piece developed like this and became a digital collage. The composition recalls the work of Ad Reinhardt, Motherwell, Guston and Newman.
Details disappear in an attempt to modulate brightness, contrast and colour.
The modulation of some of the areas of the picture result in the appearnce of orbs of light.
By creating a pooling of light the work suggests a connection between the various media being used. The light pools recall Vermeer’s pictures where he employed a camera obscure. It connects early lens and photographic technology in one space; one picture.
Current Developments: 3
The intention of this current project is to re-present visual mechanisms of hallucinations as described by M. H Keeler (1970). These examples seemed to be related to the descriptions of migraine auras which inspired a large body of my work. The aim is create a series of digital images that transform over a period of time to suggest a slowness of looking. The intention is to unify key interests: Collage/Digital Collage/Montage/Projections, Photographic material/found imagery, photogram imagery, with an idea of slow looking. Max Ernst is the catalyst for these ideas. His frottage pictures and the manner in which he observed his subjects serve as a kind of basis for experimentation and investigation. Ernst was partly inspired by the writing of Leonardo and his Treatise on painting and Max Ernt's own essay “Inspiration to Order” 1932.
Sunday, 7 February 2010
Current Developments 2
My current work involves experimenting with technologies and materials. For the development of the digital collages and projections I have been photographing and scanning leaves, cellophane and various textures to try to find a visual languages that corresponds with the research into hallucinations and auras.
The above image, with its ghostly effect, has the texture of old film which is different from the chalky looking image below.
There is a clumsiness to these two works that I am unable as yet to control.
The inverted image seems to be more successful than the positive images.
It seems that the leaf only works when it is in negative and when there is textures being picked up in the bckground. Below is a more successful version:
The above image, with its ghostly effect, has the texture of old film which is different from the chalky looking image below.
There is a clumsiness to these two works that I am unable as yet to control.
The inverted image seems to be more successful than the positive images.
It seems that the leaf only works when it is in negative and when there is textures being picked up in the bckground. Below is a more successful version:
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