I have been working with a series of images in which I merge drawings with photographs. In some instants the drawing has a direct relationship, a one-to-one interpretation of the same image, one through my "drawing" eye, the other through the photographic lens. Some of the combinations are more conceptual. In all instants the intention is to address the missing elements of time in photography, to open up the reductive nature of photographs as capture of the "real".
A selection of these images will be shown as the May expression in Diary Project 2011 http://www.diaryprojects.net/.
Although I have worked quite intensively with these images, with a view to producing work that might also be used for exhibition, they are universally terrible when printed. They appear only to work on-screen; I have concluded that this IS their medium and I cannot transfer them to 2D media. The living texture of drawing is missing from the printed interpretation, and the clarity of image is missing from the photography; enlarging them is out of the question. Acknowledging this has to be the end of the line.
Accepting this limitation is not terrible as it accords with other work I have done as performance or intervention, in which leaving no trace of made work is an expression of the anti-heroic, working against the idea of producing work as part of a capitalist exchange mechanism.
I have been working with a series of images in which I merge drawings with photographs. In some instants the drawing has a direct relationship, a one-to-one interpretation of the same image, one through my "drawing" eye, the other through the photographic lens. Some of the combinations are more conceptual. In all instants the intention is to address the missing elements of time in photography, to open up the reductive nature of photographs as capture of the "real".
A selection of these images will be shown as the May expression in Diary Project 2011 http://www.diaryprojects.net/.
Although I have worked quite intensively with these images, with a view to producing work that might also be used for exhibition, they are universally terrible when printed. They appear only to work on-screen; I have concluded that this IS their medium and I cannot transfer them to 2D media. The living texture of drawing is missing from the printed interpretation, and the clarity of image is missing from the photography; enlarging them is out of the question. Acknowledging this has to be the end of the line.
Accepting this limitation is not terrible as it accords with other work I have done as performance or intervention, in which leaving no trace of made work is an expression of the anti-heroic, working against the idea of producing work as part of a capitalist exchange mechanism.