Figure 1: Paul Laidler, Digital
image file for the Print is Dead series
OPD (On Popular Demand)
The series of paintings described in this post is an ongoing body of work that I started in 2010. Over the past couple of years I have written and talked about the series intermittently, from a variety of different perspectives and for different audiences. Subsequently and somewhat to my surprise I have received a number of requests to make the work/text available online. Given that the series has been published 'in print' this version has been edited and refocused.
Printed Paintings
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.
Introduction
Historically
within the fine arts, print was used as a means to reproduce other works of art
such as paintings - a medium of seemingly higher esteem. Although the premise
of the reproduction was often for disseminatory and financial reasons, the
quality of execution was still important. The reproduction was dependent upon the
original source material, the skill of the engraver and techniques developed
over the years to accurately transcribe and replicate.
The
transcription processes used to produce the Print
is Dead series differ from the historical rationale for replication in art.
Instead the work can be seen as an examination of a process rather than the
reproduction of a subject; elevating the 'reproduction' to the status of an
'original'. For instance, the dependence upon an original source for accurate
replication becomes impractical in this context - the source image exists as
only an infinitely reproducible digital file that is susceptible to a number of
transformations in appearance, both on screen and as a printed image. The
resulting series of individual artworks can only ever be copies of the original
digital file, yet remain unique in their systematic production.
The
allusions to production processes within the Print is dead series are considered in much the same way. The
artwork is conceived by thinking about the print medium in terms of a process
rather than producing printed artworks; the medium is addressed in relation to
print’s inherent relationship with reproduction, where the Publish-on-Demand
facility becomes the appropriated tool. The content arises from the seamless
integration of digital technology within pre-digital processes, practice and
media.
The
resulting (non-digital) artworks can be seen as a response to Marshall McLuhan’s “rearview-mirror view of the world” observation, that we are
initially numbed by new technology until it has been completely superseded its
predecessor. McLuhan states that in this transition period of ‘the present’,
our senses become overwhelmed so much so that we go from the unfamiliar back to
the familiar. We attach ourselves to the objects and atmospheres that
characterise the past where we feel a compulsion to make the old environment
more visible.
The resulting non-digital artworks reflect McLuhan’s
technological transition period in that the field of printmaking is still
awaiting the arrival of its digital natives. The process and production of the Print is Dead series is representative
of this current juncture between technologies and conscious of the fact that it
is an analogue work within a digital age.
POD
The POD
(Print-on-Demand) facility is a relatively new addition to the artist’s
possibilities for producing printed artworks via digital means. The development
of the technology is a product of the digital revolution that has democratised
the opportunity to self-publish. The democratisation has been possible because
of the technology’s economic potential to reduce the costs previously incurred
through mechanical printing processes such as offset printing. A large
percentage of the POD industry caters for book and artist's book publishing,
although there are a growing number of POD facilities that specialise in fine
art, digital prints for both artists and publishers.
From the
self-publishing artist's perspective, the process follows a system-based
procedure through a set number of options for printing a digital image. These
options often include a choice in scale and substrate before remotely uploading
the digital image (via the Internet) to a POD facility server. Once stored on
the server, the digital image is then downloaded and printed to the previously
established print options. Because the digital file can be reproduced and
stored indefinitely, the edition size may be left open allowing for further
renderings of the digital file at the client’s request – hence print on demand.
Although
the Print is Dead series does not
directly use digital fabrication technology, the artwork shares similarities with the fabrication process as part of the
artist-fabricator approach to making. These associations consider the human
crafting approach as part of a systematic and automated method to making, by
employing the technical skills of others to help realise the work that informs
the idea.
Unlike
most POD facilities that produce printed images for clients, the facility that I chose for the reproduction of The
Print is Dead series use the hand-rendered method of painting as processes to reproduce a digital image.
Figure 3: Paul Laidler, (order272)completed.jpg, Painting produced by
Odsan Gallery, China
Figure 4: Paul Laidler, (order542)completed.jpg, Painting produced by
Odsan Gallery, China
Replica Factory
Figures 3
and 4 are oil painting's on canvas produced through Odsan Oil Painting Gallery in
Dafen, China. The company is one of many in the region that employ
academy-trained artists within a factory-line approach to reproduce vast
numbers of old master oil paintings. The act of copying great masters’ works by
artists has been a continued practice throughout the ages. Conventional practices
have often required that artists access the original painting to capture the
intricacy, scale and presence of the work. I do not profess to being a master
artist - the idea of having a work reproduced in paint that contains none of
the traditional precedents for reproduction was what interested me.
More
specifically the conventional reproductive process becomes inverted as the
facility takes a digitally printed image and reproduces it by hand - in essence
the machine and human exchange places. The use of a digital image also
highlights the problematic situation of what is being copied and therefore;
what is believed to be the original work?
If we consider that a digital image is susceptible to scale and colour
changes through different computer monitors and print devices then the work
becomes less concerned with reproducing a subject but examining a process.
Figure 2 Printed image used by Odsan Gallery to create figure 3
Perpetual Painting
The Odsan
Gallery's reproduction process functions in the same manner as the POD facility
when offering a client the possibility of ‘self-publishing’. As previously
stated this involves the transfer of a digital image (figure 1) that is
rendered to the specifications of the client. Figure 3 was created from a
digital print (Figure 2) made from the low resolution digital file (figure 1) that was requested
by the Odsan Gallery to create the artwork. In this situation, the rendering is by hand, not restricted
to the scale of a print device and can be reproduced in a range of different
painting styles. The resulting painting for the Print is Dead series, is a photo-realistic style reproduction of
the digital print that was used as the source image for the work. In this
instance the reproduction of the source image contains a magenta hue produced
by the printing of the digital file.
The
inclusion of the colour cast in the painting is not seen as a fault with the
reproductive artwork but as a reminder of the parameters of the tools and
processes we use. In his article The
Aesthetics of Failure, the American composer Kim Cascone discusses the
positive outcome of imperfection:
'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)
Figure's 4 and 5 are painting's also created from photographic sources although these photo's are taken by the Odsan Gallery to show the client the painted image before posting the actual canvas. In essence the photos are proofs that need to be approved by the artist/client before the next stage can be implemented. By photographing the painting and e-mailing the digital image for approval a perpetual system for further paintings is developed. These approval photos are then used as the source image for the next painting and so on and so forth. Despite the absence of print production in the appearance of the paintings, the association with the reproductive process is embedded within to the content of the work. The possibility of an indefinite number of copies remains, although the reproductive endeavour is one of human automation or human printers.
Figure 5: Paul Laidler (order547)completed.jpg, Painting produced by Odsan Gallery, China
Further (extended) texts relating to the Print is Dead Series can be found in:
Laidler, P. (2011) Human
Automation. Printmaking Today, Vol 20, No 4. Winter 2011, p. 28 ISSN 0960
9253
Laidler. P. (2012) The
Human Printer featuring the Print is Dead series. (Impact 7 Printmaking
Conference, 27th - 30th September 2011, Monash University, Faculty of Art &
Design, Melbourne, Australia) Monash University Publishing ISBN:
978-1-921867-576