Sunday, 10 November 2013
Wednesday, 2 January 2013
The post discusses the themes of printmaking, collaboration, process, and the digital age as a series of concepts toward the initiation and production of a digitally mediated ‘print’ series ‘Print is Dead’ (figures 1, 2, 3, 4 & 5). Here the preoccupation with production and process is emphasized over the end product as a means to address the collaborative print process and the conceptual considerations for the work, engaging with printmaking themes. Whilst the resulting works are not prints in the truest sense, printmaking is imbedded as a means to consider the broadening definition of ‘print’ in the digital age. In this instance printmaking is considered as an expanded term through the production of paintings whilst the digitally mediated ‘print’ is realised through the Print on Demand model - a facility synonymous with digital technology. Collectively the themes and production processes highlight the often de-emphasised collaborative undertaking by printers for artists, and the subsequent acknowledgement of this art category, whilst the resulting artworks challenge assumptions of authorship and originality in the production of artworks for artists.
'Indeed failure has become a prominent aesthetic in many of the arts in the late 20th century, reminding us that our control of technology is an illusion, and revealing digital tools to be only as perfect, precise, and efficient as the humans who build them'. (K. Cascone, “Post-Digital” Tendencies in Contemporary Computer Music’. Computer Music Journal, Volume 24 Issue 4, 2000, p.12)
Sunday, 2 December 2012
Thursday, 22 November 2012
s[edition] is an online gallery that sells screen based digital editions (video and stills) by a number of high profiled artists. Here the editioning practice embraces the inherent qualities of the digital medium and brings a further dimension to the artwork in multiple format - whilst enriching the possibilities of what one (those predominantly brought up on physically editioned artifacts) understand as editioning in the digital age.
Sunday, 24 June 2012
Monday, 4 June 2012
Artists included in the exhibition: Carolyn Bunt, Arthur Buxton, Paul Coldwell, Richard Falle, Brendan Reid, Sebastian Schramm, Roy Voss, Katie Davies and Peter Walters
Tuesday, 3 January 2012
Wednesday, 7 December 2011
Richard Falle’s work Phalaenopsis Momento Mori pushes preconceived ideas of vector-based imagery and the recording of still life works within virtual space. Here the allusions to photo-realism and hyperrealism are prominent although momentarily acknowledged once one learns that the image has been described by observing the real object. Subsequently the 2D print resonates between traditional drawing methods for still life recording and the resulting depiction of form and space through virtual tools.
The work was initiated through discussions between the artist and myself - so to give you a bit of background here are some words from the artist about the making and conception of Phalaenopsis Momento Mori.
The image Phalaenopsis Momento Mori was created in Adobe Illustrator using a plethora of blends, meshes, transparency masks and brushes layered one on another and contained within clipping masks to create depth, texture and lighting effects. The image was drawn from observation rather than having traced over photograph or using the Livetrace function. Not an efficient method of generating this kind of image, I estimate it took at least 30hrs to produce, the challenge of working within the limitations of Adobe Illustrator makes the result all the more satisfying.
How often have you posed the question, “What if…?”
For me, it’s been a vice, a pleasure and a muse since I was very young. An unrepentant daydreamer, the images I create are a product of attempting to visualise the props of those unlikely “What if?” scenarios, combined with an ongoing exercise in pushing the limits of what can be achieved using purely vector graphics. The limitations of vector art, creates images that seem to hover between photorealism and illustration and gives the subjects an uncanniness that accentuates their eccentricity.
Tuesday, 22 November 2011
Arthur Buxton is an artist who has recently been invited by CFPR Editions to produce a limited edition print at the Centre for Fine Print Research in Bristol, UK. Buxton's work engages with data visualisation methods that use colour extraction tools to explore trends in the natural world, painting and print media. Using open source software he extracts colours from photographs to create charts and timelines that typically display the five most common colours in each image as a percentage. In this instance, the removal of figurative and formal elements from an image present a series of colour harmonies and trends, alluding to sampling methods, information graphics, automation technologies, and objective forms of re-presentation.
The artist explains his most recent work produced with CFPR Editions; 'As the worlds most influential fashion magazine, Vogue acts as an ideal barometer for colour trends. Making use of British Vogue's own online online cover archive I use free software to extract the five commonest colours from each cover and chart them, in Illustrator, by percentage. Arranging these charts into a timeline we begin to see trends emerge - seasonal variations and also in the longer term, a gradual fashion for lighter hues. In my thirty years of British Vogue covers visualisation each column is a year beginning with September (the start of the fashion year) at the top and working backwards to October at the bottom. 1981 is on the right and the timeline runs through to 2011 on the left'.