I made this series during my six week residency at DegreeArt. It follows my interest for looking at how familiar gestures and surroundings might affect the way that we read and perceive imagery and ultimately for me as a visual artist affect how I decide to describe and construct imagery within my own work. In terms of observing familiar surroundings, I’ve been considering the amount of time I spend in front of my laptop and on Photoshop interacting with a 2D digital screen. The way for instance that outside of the computer I feel I ought to be able to ‘copy and paste’ something in real life. I being open to letting this affect the way I might naturally look at and decode things visually.
I’m also at the moment enjoying using awkward shapes and perspectives in the colleges that I make to paint from. I’ve been taking screen shots showing the moment where I’ve removed an element from its spatial context. They look part in situ, part frozen in time.
Taken from the text for ’In All Direction’ Unit 3 Projects Residency at DegreeArt and following on from the first paragraph above, just after “…and decode things visually.”…
… I find I have for example, a tendency to visualise imagery structured in layers, which I think I have partly derived from working on a computer desktop. Operating via this one interface means although there are multiple programmes running: windows, browser tabs… there is only one top layer to be seen, as the screen is in actuality a flat space. I gaze for such amounts of time at this flat space, working with layers of imagery in Photoshop that I am now very accustomed to this being an effective system for organising visual imagery. Recently, I’ve started translate aspects of this system of thought into the way that I make my paintings, exploring the way in which they might affect the way I work with composition and with paint itself as a material.
’.GIF 1:5’ takes my usual pattern heavy subjects but by using tools available to me in Photoshop the content within the composition has been stretched, re sized and positioned. The sense of accurate perspective altered results in a a space which is somewhat deconstructed and off balance. The loud and disorientating colours of the ornate floral rugs which have been pulled into impossible directions rest midair as a bizarre surrounding for seemingly floating tigers.
Collageing for me in this respect is very different from my days of instead literally cutting and sticking. Previous to the making of this work, using Photoshop, I made a five frame .gif file animation and together all five of the ’.GIF’ paintings specifically attempt to emulate this image format. I have enjoyed the absurd impossibility of this project as well as how clearly the manual painting of each of the five identical tigers is worlds apart from the copy and paste action achievable on the computer screen.
.GIF 1:5 in particular has achieved a greater sense of the flashing found in the original .gif annimation. the colours in the rug especially with the neon pink clash and as a result the colours ‘dance’ slightly. It’s a hard image to photograph because of this – much clear to see in the real.