I'm not the least bit sentimental about the decline of slides as the medium for presenting images to galleries, shows, or whoever positioned themselves as "viewer". I always suspected, that if anyone ever got to open the box, they would merely raise the slide against a light background, a window at best, sigh, glaze over, leave a thumbprint, and return to the conversation in the room. They would then take steps to loose the slides for a few months, and then finally return to me some other artist's submission.
The image of a darkened room with a hushed panel of eager, focused connoisseurs, the projector humming discretely with life-sized images lingering on a screen long enough to reveal the amazing depth of the work, is a false image, I'm sure. On the plus side: I would always know how they looked and not be subject to someones weird monitor or computer settings. I have seen my work look very, very different on other peoples screens, almost unrecognizable.
Nothing will ever look the way it looks in my studio, or on the wall at home. Scale, of course is a biggie. Colors, textures, changing reflectivity in different angles of viewing, or just the all-important impact of stepping closer, and stepping away. With all these raging vagaries running loose I feel free to doodle around in Photoshop and mess with images of pieces until I feel they represent what I would ideally like them to be.
Is that really bad? I mean,I never really succeed -- they look like I messed with them in Photoshop.
The next step is to present pieces which don't really exist.
Meanwhile, there is an acceptable and commonplace alternative (hold your breath): the computer-generated image:
My digitized flesh, and my delicately hatched lines done with trembling digits of same flesh.Feel free to click to get the full horror.
Those are rather small, aren't they? How do you do that? Tiny brushes?
ReplyDeleteI made this mostly in Photoshop. The hand, of course, is a photograph of one hand kindly taken by the other and imported into the program. The hatched line rectangles are taken from another piece, shaped using the crop tool,combined with the photograph, rotated to a chosen angle, and then fiddled with, mostly with stamp tool, brush, and blur to get the hand overlapping effect.
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