If it was not expensive to be an artist, artists would not demand so much for their work. In the digital era with some software producing work costs nigh next to nothing (regardless of whether or not you take into consideration the electricity bill and artists upkeep, etc). State of the art software still costs £4000 just for the right to use it, an issue of free software which that hacker guy wrote about. Some of those licenses are only temporary anyway. Are canvas and paints particularly valuable, or do we attribute a higher value based on the craftsmanship behind it?

HEIGHTMAPS

Category : Uncategorised
Date : 9th January 2020

As part of a practice that lies in conjunction with new media art or 3D modeling projects, heightmaps are commonplace. Generally used for elevation modeling, heightmaps are made up of a single digital channel, being read as displacement from the ‘floor’. Black pixels represent minimum height and white pixels represent maximum. This visual data can be used in different ways and in 3D design is generally used to generate bump maps, a texture for rendering physically realistic shadows. However, with this series of works the visual data was used for a slightly different purpose.

The height maps, in the form of their grayscale digital images were edited in photoshop to alter the pixel color values, altering the elevation data while retaining the composition of the terrain. Placed in an external program designed solely to render heightmaps as 3D models or images, the alternative versions of real landscape data were rendered. As a result, these works could be considered to be landscape data abstraction or glitching. 


EXPOSURE I-V (NO CRITICALITY)

Category : Uncategorised
Date : 9th January 2020

The Exposure series was a detour into rapid image generation in conjunction with image over-saturation present in an internet-integrated lifestyle. They were created using the digital double exposure technique present in various photo and image editors on the phone and computer. Beginning with a base photo, a second photo was double exposed on top and saved. A third was double exposed on the first pair, and so on and so forth until collages of abstraction were achieved. The saturation and contrasts were balanced accordingly into the compositions in this series.

The question stands- do these images lack criticality? Many argue that all of an artists works are a cumulative result of their research, practice and experience and that the works could not arise without training and output, whether successful or failures. If criticality comes from research, practice, being informed and manifesting this training into coherent and relevant works, then the criticality of this series is quite debatable.

The absentmindedness of the technique could either be considered lazy or deliberate- the spontaneous and nigh-random generation of the visuals is symptomatic of the era, in that media generation has reached an almost thoughtless, chaotic state that essentially perpetuates itself once it is posted. However, the randomness and spontaneity could also be viewed as the critical notion of the work. In this case, it is left up to the viewer.




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