PORTFOLIO PRINTS

Ag Lab

My C-prints I ordered over a week ago finally arrived.

There was a delay due to the shortage of the matt paper I requested but I finally have the prints with me. I have fifteen small 12''x 8'' and one larger print which are more samples of the colour and contrast, paper and size but I think I may use some of them for my printed portfolio. As I expected there is a lot to adjust in regards to colours and brightness. The matt surface is perfect, I really like it but the colours are muted and in some cases the forms are totally lost.

John F. Peto

This is really spectacular discovery by Paul Clemens - painter John Frederick Peto. Forgotten but luckily rediscovered master of trompe l'oeil (that's how Wikipedia define it, I'd say 'hyperrealism').

John F. Peto.jpg
Exploiting the fallibility of human perception, the trompe l'oeil painter depicts objects in accordance with a set of rules unique to the genre. For example, Peto and Harnett both represented the objects in their paintings at their actual size, and the objects rarely were cut off by the edge of the painting, as this would allow a visual cue to the viewer that the depiction was not real. But the main technical device was to arrange the subject matter in a shallow space, using the shadow of the objects to suggest depth without the eye seeing actual depth. Thus the term trompe l'oeil—"fool the eye". Wikipedia

I very much admire his choice of subject, composition, colour and of course the fantastic skills to turn the reality into the image with photographic qualities. 

There is everything which attracts me visually there - the ordinary object, interesting texture, typography, symbols, layers, the shallow depth, even the 'x' shape which is one of my most favourite combination of two lines.

What if I'd used one of his paintings as a starting point in my layering process?...I could as well recreate the same composition but with the current, contemporary objects...

 

REFERENCES

John F. Pet https://en.wikipedia.org/wiki/John_F._Peto

 

M4 - Week11 - Treatment

Ha, that was a lesson!:)

I did not have a clue before this task from Amy Simmons that there is something like a "treatment" proposal in the photographic industry, and that there are some common standards of how the treatment document should look like.

I supposed to create the mood boards with references based on my own photos or/and external sources, to explain my approach to task requirements articulated in a brief.

Treatment is an important part of the pre-production process. It is a form of the proposal but its more image-based than the normal proposal. There are references organised in a mood boards to explain the approach.

Some useful information about the treatment.

M4 - Folio Friday at The Photographers' Gallery

My recent trip to London luckily coincided with the Folio Friday event organised monthly by Photographer's Gallery. 

IMG_7812.JPG

I arrived there quite late, somewhere around 4pm so it was already two hours since the room was opened to public. The fact that the room was almost empty was slightly intimidating, I felt it will be rather wrong to look at the portfolios and not having the conversation with the author so I mainly looked at the portfolios where the author was not present. That was not the behaviour I'd expect from the public if I was sitting on the other side of the table but I somehow totally did not feel like talking with authors so just walked around scanning briefly the tables content. I stopped on the last one though intriguiged by the small photobook.

Photobook
Shahram Saadat - Folio Friday

Shahram Saadat - Folio Friday

REFERENCES

https://thephotographersgallery.org.uk/visit-and-do/folio-fridays

M4 - Idris Khan at Victoria Miro Gallery

Motivated by the meeting with a good friend I have not seen for four years, I went to London yesterday and had a very intense and precious time packed with long chat, new places and new reflections. 

One of the places I visited was the Victoria Miro Gallery. I found the Idris Khan exhibition currently on display there and thought it is the good occasion to check out both, the gallery and the artist who I know from the thoughtful and beautiful abstract works and who is, as I only learned recently, one of the most influencial British artists.

I read about the 'Absorbing Light' body of work before the visit so I knew what to expect and was very curious of the impact the works may have.

(...')Forms are triggered by a desire to ascertain how scale, mass and volume are perceived, measured or remembered in times of sensory deprivation or through compromised and fragmentary accounts.'(...) In fact, both painting and sculpture allude to spaces of imprisonment and the experiences of those whose perception has been compromised. Deeply moved by testimonies from Saydnaya, Syria’s most notorious and brutal prison, Khan has researched the ways in which inmates encounter and remember their surroundings. While first-hand accounts of Saydnaya, where cells intended for solitary confinement are inhabited by up to fifteen detainees, are the only available source of information about the prison, the testimonies of those few inmates who are released are severely hampered by the conditions in which they are kept: in darkness, blindfolded, or forced to cover their eyes. Their sense of the place, therefore, can only be ascertained by other means – through sound, smell, or by mental exercises such as counting the tiles on a floor, the bars of a cell, the number of fellow prisoners, or the number of days detained. Darkness unites the works – both physical darkness and the metaphorical and emotional darkness of Khan's source material. 

Most works were purely black with the traces of the words/letters imprinted on the geometric blocks of  patinated bronze and a flatt surface of the canvas. I was impressed by the exposition space and silence which definitely worked on the account of the displayed works but overall rather disappointed by the austere expression without any voice.

The works did not speak to me and that was a big surprise as I was moved by the facts which provoked Khan to create them, I admire abstract art and I love black. I thought that combination of all those factors will be a visual and emotional feast for me, but it wasn't. 

Maybe I was too distracted by the chat with Aga, quite chaotic and about everything - quite typical after such a long time... 

REFERENCES

https://www.victoria-miro.com/exhibitions/513/