FMP - Experiments/Visual research

Really quick "sketches" using basic 3D forms and landscape photograps.

I almost completely forgot how to use zBrush - the only 3D application I had once patience to learn. Today I see it from the different perspective and perhaps its good I had to start from scratch as it is that basic, raw algorithmic pattern I am interested in now. The forms feel so organic - that's the beauty and uniqueness of this application. The organic geometry. Duality and unity.

It is so easy to get lost in the trivial attractiveness of some forms. One side of me is protesting agains even saving them on my hard drive but the other side is fascinated with that effortlessly generated places which I wish were real.

Algoritmic island


FMP - First 1:2:1 tutorial

The first individual tutorial with Dr. Wendy McMurdo who is the Final Major Project module leader.

The place, time and broadband connection quality were rather unfavourable and I have probably missed a lost but what I didn't miss and received with huge relief was the message that there is still time to experiment

Some suggestions to check out:

Dalston Anatomy  Lorenzo Vitturi

Foam Magazine No. 49



FMP - Experiments/Visual research

I decided to (or rather was made to take that decision by the strong, inner urge) let it happen - the drawing, scribbling, writing on the top of the photographic fabric which is almost as uncontrollable as the photographed configuration of flying flock of birds. The aggregations of lines just happen spontaneously and intuitively. Record of a moment, thoughts, emotions but not by the mechanism of the camera but my own biological mechanism. Not much difference since I can hardly control the shapes. I can only decide if I want to keep that record or not which applies to images captured photographically too.

I realised it is an another dichotomy in those images - the language of selected/recorder external world and the visually manifested inner voice. Duality of expression. And again I had that thought that I am also an apparatus.

I will continue my digital sketchbook. It is an another channel of releasing the involuntary forms. Perhaps something interesting will come up "by accident".

Digital sketchbook

FMP - Research

Shape of Light at TATE Modern

My planned trip to London to visit the 'Shape of light' at Tate Modern coincided with the Offprint book Fair and Photo London Fair at Somerset House. As I expected it was way too much to see during one day. Luckily I started at Tate and spend a lot of time inside the beautifully design rooms of 'Shape of light' without rushing.

It was one of the best exhibitions I ever saw. I haven't seen many, especially during the last six years which I spent hibernated in the village, but enough to have some reference. It is perhaps partially a result of my interest in abstract, unconventional photography woken up during the last year of the course but I am convinced that this exhibition would stay in my memory even if that was not the case. It wasn't just the demonstration of the variety of photographic techniques and approaches. The collection of works was interesting, engaging, thought provoking and inspiring. 

I was amazed especially by the Babara Kasten large mixed media quadriptych. The combination of the abstract painterly texture and the photographically captured moire forms was surprising and beautiful. I didn't know that the combination of those two mediums may result in such an amazing manifestation of the integrity as they are widely perceived as opposite.


The other works which I knew from her website surprised me too with the scale and detail quality. 

There was quite a few artists showcased that I've never come across in my research. 


IC - Week 11 - Project development

There are just a five days left to submit the work in progress selection and the CRJ so couple of reflections this time alongside with latest works.

The course material discussing in depth the important issues regarding the ontology of photographic nature, the means of dissemination and the role photography plays in the contemporary society, highlighted the areas I have not considered so far both as an author and the spectator. I realise though that I only touch the surface of all the subjects I have listen, read and talked about.

I found the topics from the first half of the course particularly interesting. The reflections on the context, authentication, representation, constructed realities and the meaning of the 'really real" influenced already my practice and I can clearly see how my interest in constructing the image using the method of rephotography is shifting into the areas where "photographic seeing" plays the most important role. I think the last shots in this module like this one below for example (Fig 1 and 2), are one of the most succesful. There is a combination of site specific forms and naturally occurring phenomenons (light reflections in this case) which together create an involounarily arranged composition. 

But I am also happy with those where the artefacts determined by the use of specific apparatusses (screen and camera) are playing an significant role in the construction of the image. The works below are particularly interesting to me because I used also another method here - the stripes are the reflection of the window blinds in the piece of acrylic glass I hold in front of the image displayed on the screen. I am amazed with the way the reflection is blending with the image. It would be really hard to achieve such an naturally looking fusion with the software. 

That kind of natural blend of various surfaces and shapes generated by objects as well as the transformations occuring in the tonal range, the redefinition of colours, viniette, noise - all that is too fascinating to stop experimenting with the method of adding layers photographically, but as I mentioned above, the straight captures of the phenomenons occurring involuntarily or with a little intervention, are something very special and I will continue to hone my observing and pre-visualising skills.

During the last week I worked also with some totally different method which is a result of the chain of coincidences mixed with intentional choices. I spoke with one of my colleagues at work about about the moire pattern in context of my practice and as a quite surprising result of that conversation, my colleague sent me a "moire generator' which he put together during the lunch time using some of the available open source pieces of code, which is simply the rotating geometric shape built with lines which can be modified displayed in a browser

There is a colour, transparency, line thickens and density which can be set up in a various configurations as well as four geometric shapes to choose from. It was a good fun to play with the shapes and observe some moire-like patterns occurring but that was it. I imagined though that if the shape could be overlaid on the image, the situation would become much more interesting. I asked my colleague if there is a chance to place the animated shape on top of the image not a plain background as it was originally and not long later received an email with the the modified generator which allow me to use any of my image in a background. It reminded me of the "Indeterminate Objects (Classrooms)" project by Wendy McMurdo which I saw at the Photographers Gallery in December as it combines the animated object and a still image. I use the rotating geometric shape though in a totally different context and only as a generator of still captures at the moment.

I spend two evenings with working with this method and included two images in my WIP portfolio (Fig 3 and 4). Both of them has been rephotographed again after the shape was captured and the additional layer of moire pattern appeared which is well visible in the first image above the cube (Fig 3).

Here is a small selection of other compositions:

I wish there was another month to go. There is so much to explore...

IC - Week 10 - William Larson

I remember researching the William Larson's works in the Sustainable Prospects module but back then his works did not resonate with me as much as now. I don't understand fully his method but what I am able to comprehend about his "electronic drawings' is quite incredible. His digital collages were created long before the computer software offered that opportunity to artists ((1969–1978)) and are "some of the earliest digitally generated works of art".

Here is a short explanation of the process of generating an image I found on the page of Gitterman gallery which represents Larson:

"Larson used a Graphic Sciences DEX 1 Teleprinter, a sophisticated early fax machine, which converted pictures, text and sound into digitally-generated audio signals. These signals were transmitted over a telephone line and a stylus burned the image onto a special carbon-based paper, creating a unique “electronic drawing.”  He was able to manipulate these images by altering the voltage of the output during the printing process, by moving the stylus during printing and by sending multiple transmissions to the same page, electronically layering images, text and visual representations of sound." (Gitterman gallery)

I find these series of works, which he called Fireflies, very inspiring. The seemingly chaotic, nonchalant configurations of forms are in fact perfectly balanced compositions. 

He combined the fragments of photographs, typography and abstract shapes into one dynamically generated image enriched with the artefacts specific to the used apparatus. The compositions, although generated by the machine and non representational, evoke the dynamics of the organic structures. The use of photographs (their fragments in fact), as a malleable tissue stripped out of the narrative aspects really speaks to me.

Althought those works are aesthetically and technically far away from my own realisations, I can see some tangential aspects like for example multiple layers, fusion between the analogue and digital, artifacts generated as a result of qualities of the tools.

About ten years later (1988) David Hockney experimented with fax machines as well, although his approach was totally different. 

Studying the Larson's works made me think again about the idea of embeding/projecting the fragments of images on top of the original one which I was playing with after the IoP Symposium at Falmouth. During one of the talks, I think it was Gary's McLeod one about rephotography, I had an idea of adding a layer of what is in front or behind the place I photographed by projecting the fragments of the image. I shared the idea with Steve Tyrell and couldn't wait to give it a go. It turned out to be not as easy as I expected and I gave up because of some technical issues - the conflicting frequencies of the recorded video, projector. I asked my colleague at work today about potential solutions and have one tip to check. There is not much time now due to upcoming assigments so it may be something to play with after the submission.