'Distorted.'
A series of Lino prints which have been digitally manipulated through the use of mirroring and disrupting overlaid technology. My work questions perspective and the relationship we have with it. By indulging in editorial methods, there is a development of perplexity within each design. I had initially created photomontages which included squid tentacles, as a red herring to the viewer, symbolising adaptability and strength. I say red herring as if these prints were the first thing to be looked at in an exhibition, I imagine the audience would be mildly mislead. 'Distorted.' is an assemblage of photomontages prints embellished by glitch overs, mirroring and contortion. Distortion refers to a misrepresenting of something, an aberration, something no longer recognised. The glitch overlay pays reference to a sudden malfunction, or fault - representative to the nature of some visual ailments resulting in sudden loss of sight. Mirroring, alongside being a tool which can employ a psychedelic narrative toward an image, is also seen as a symbolism of wisdom and awareness. Though the two noted attributes appear oxymoronic in nature to the previously noted misrepresentation, I find each print to work cohesively because of this. Sight loss is not a straight forward, delicate illness but a imprudent one. Given the agile nature of visual impairment (especially aged macular degeneration) I wanted to convey a series that documented the unspoken realities of this ailment in a surrealist manner.
Perspective has two formats; a representation of three dimensional objects over a two dimensional surface, or a particular attitude towards or regarding something; a point of view. In retrospect I have obtained that each of the synonyms derived from the nature of perspective are used within my work. The dimensional qualities of an image are assessed within blind drawings and paintings as a means of replication. In conjunction with my prints however, they are relating to point of view as most art pieces do, given the subjective nature of the subject. Alongside a point of view, I want to shift our lens from reality, pervert the normality of seeing. Each print observes some of the repercussions to loosing your sight, blurred or clouded vision, tunnel vision, double/triple etc vision. My works display a further juxtaposed narrative from their sheer animosity towards being still. I want my audience to recognise the struggles those who are loosing their sight are going through. Eliminating control over the lens of your own eye as the viewer, though a small act of empathy, can help us understand more.
'Geometric Sphinx.'
During the printmaking process I had experimented with backgrounds, following quite a graphic route, I was mildly influenced by Jan Tschichold and Josef Müller-Brockermann. I had taken to conjuring a memphis-esc background for the sphinx to embellish. This duo series shows the Sphinx through two dissimilarly observations. The first of the two was divided and overlaid onto the original print, I then experimented with darkening the overlay and changing the values of the hue in order for each division to be seen, eluding a sense of depth. The second acquired a modest amount of detailing, burnishing the original print in order to display a disparity of the lines within the illustration.
'Enigma.'
The enigma series conveys the sphinx cat, using full difference filters alongside reciprocated negatives and hue changes. The series is titled 'Enigma.' due to the nature of the sphinx being mysterious, unable to be deciphered and generally just an obscure creature. The original prints for this design were created using chiaroscuro methods as to depict a recognisable sense of contrast and differentiation between the highlights and low lights, I find the reciprocated version of this print to be quite intriguing through the 'Enigma.' series as it allows the design to be seen through another lens.
Further information regarding the imagery and symbolism of the sphinx cat is discussed in the Art 281 'Disparity Cat.' post if you wish to know more.
My favoured series of prints are in chronological order over the gallery illustrated below, alongside the order of the series titles. 'Distorted.', 'Geometric Sphinx.' and 'Enigma.' The last images shown between each series are the gallery wall mock ups of how I would wish my work to be displayed. You can see in these mock ups I would like to portray them in a regular, mundane gallery setting. Though some of these prints may be featured in my hypothetical live outcome posts.
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