In working through Part One I have come across several photographers/artists whose constructed images and processes have proved particularly stimulating. I was thinking this might be something I wanted to follow up for assignment one, although I’m not sure it qualifies as a traditional ‘cut and paste’ technique.
I am always fascinated to see the working practices of artists and photographers. I am struck about the levels of layering that Gordon uses in his work and while he uses a lot of found images his constructions take them into new contexts and meanings. I like the juxtaposition between 2D and 3D and the fact that when looking at the work it is not always easy to tell if they are photographs or paintings; the original objects or facsimiles. I think they are partly about challenging the nature of photography and its associations with ‘reality’ and ‘truth’ although Gordon suggests his work does not have an overt message. He does however; recognise the importance of their materiality and construction.
A question for me is, why not just create everything in the computer? But, without seams and faults and limitations my project would be very different. The seamlessness of the ether is boring to me, but the materialization of that ether, I think, can be very interesting. http://thehighlights.org/wp/daniel-gordon-interview
Gordon talks about his processes here;
Samoylova is a new artist to me but given my assignment one is going to look at water and nature I was really happy to have found her. I like the constructed nature of her work and that she is directly addressing idealised nature and landscape and like Vionnet is addressing our received cultural symbols through using found images.
My work explores the ways in which photography is used to illustrate concepts of the Beautiful and the Natural in contemporary visual culture. Through my practice I examine photographic typologies of landscapes culled from stock and public domain image libraries online. My research focuses on widely circulated nature-themed images that depict such cultural constructs as Nature, Environment, and Beauty, the concepts that ultimately illustrate our world view. Each of my tableaus is an aestheticized environment constructed out of idealized landscape pictures that manifest the conventional views of the Beautiful in nature. By investigating the formal aspects of such depictions, http://www.h18.be/artists/anastasia-samoylova/
Her vimeo lecture gives a useful insight into the development of her work. https://vimeo.com/102738193
Researching Gordon and Samoylova reminded me of Calum Colvin’s work, a photographer I had first come across some years ago. Colvin combines a very constructed and sculptural approach with painting and photography. He also uses found images and references contemporary cultural symbolism.
I was interested in ‘documentary’ photography but quite quickly realized that this was one element in a whole range of possible areas of enquiry inherent in the medium. I realized that I could use the monocular viewpoint of the camera to encompass a whole range of concerns.
…Anamorphic perspective has been around for a long time, since the 16th C. I am interested in work that concerns this, as it presents a kind of other world, floating between reality and vision. Photography, with its monocular eye, ideally suits this technique, which I try to marry with cultural artifices. http://www.electricscotland.com/art/calum_colvin.htm
Colvin talks about a work based on Robert Burns: https://youtu.be/wYy-dJ-Tc28
Whether for this part of course or further down the line I am interested in exploring this area of construction and seeing how I can make it my own and not a poor derivative of the distinctive work of these artists.