Sunday, November 1, 2009
some work
And I suppose why not throw these in. I'm rediscovering my love for photoshop. These are warpings of images from my image bank, in combination with photographs of my drawings and crafted materials (For example, in the second to last image, those black lines are from a drawing, and the "rock monster" is actually a photograph of paint poured over ash-the ash side-) I'm mostly using them to ease my brain back into color and bulkier compositions, as I've been doing delicate floating work for a while. I do see some potential in printing them, cutting them apart, and collaging them with other things. I'm intrigued by the idea that I can fold multiple realities and perceptions of landscape/urbanism over and over into an image until the difference between drawing/sculpture/digital/real becomes blurred and completely unanticipated narratives/architectures emerge.
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3 comments:
whoa.
josh these are fucking amazing. i really like your ideas about combining media and content to obscure the realness.. i think representation is so ova! this kind of mashup aesthetic is one i am totaly down for. the process you described is similar to how i do most of my sound design these days, recycling and combining multiple formats and references into a new and alien narrative or texture(in my case).
so, these are sweet. i support taking a razor to the prints!!!
another thing that this makes me think of is the issue of translation in the back and forth between digital and physical art... you start with something, find a way to digitize it (translation 1) manipulate it (grammatical/semantic tweaking) and then make it physical again (printing, projection, speakers ect) and at each junction, there are decisions that affect the trajectory of the piece. what factors are active in your process? is it largely intuitive? (not to be valued less than a systematic approach, the locus of agency is just displaced) or are you implementing a system of sorts?
ok done. really great work!
love,
Rod
Typically what happens is that I take two or 3 images and overlap them until they reach an "aesthetic resolution," which would be subjective--I'm concerned with the power of aesthetics to reconcile dichotomies-- Typically this first resolution is fairly simple. I then copy this resolution a number of times, to be honest, probably in a ratio simliar to the fibonacci sequence, a biologically emergent patternI'm currently fascinated by. I take the next round and warp and fold them until they reach a resolution, then I group them, and replicate this process, until the original images are brought down almost to a cell-size ratio compared to the overall "body." The last, most complicated image, for example, is made of only 3 photos whose original size was only 1/100 the size of the result. The great thing about this is it's almost impossible to fail, because any failed combination can just be warped and pulled smaller and smaller until pixel sized and then replicated again.
we gotta digitally collaborate!
YEEEEESSSSSSS WE DO!
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