FMP - Luisiana Museum and Laurie Anderson

There is an amazing exhibition at Luisiana Museum of Modern Art in Copenhagen about a Moon. It is on until 20th of January so I am hoping to see it when the times become less hectic.

One of the artists invited to take part is Katie Paterson - a conceptual artist I very much admire. In cooperation with some light specialist, she designed the bulb which simulate the light of the Moon.

I watched some short videos about this on Luisiana Chanel and come across the name of Laurie Anderson - another amazing and important to me artist. There is an brilliant interview with her which I watched making notes as I Identify with a lot what she talk about.

“I am an artist because I want to be free” that sentence reminded me to trust my own judgment and do what I feel is right. I want to feel free because the same as Anderson I don’t like when people tell me what to do. I have to though to some extend because I make my living from being a designer in the institution full of leaders and managers…But this is a sacrifice to be able to be free as an artist. Sometimes I look for confirmation of my way of thinking and get lost in the variety of other people opinions. I am trying to get the most of it and follow the advices but it can’t be in total conflict in what I feel is right. Because then everything I do doesn’t have sense. So when deep inside I feel strong and convinced that what I do is good and honest I think I should trust that feeling.

But what I really want to make a note about in this post is the video of the “Virtual reality of stories” I found when looking for some other works of Laurie Anderson on the Luisiana Channel.

FMP - Folio Friday at TPG

As planned in my Final Project Proposal, I signed up for the Folio Friday at The Photographers Gallery. I have so little opportunities to speak face to face with someone eager to listen about my project who could give me some professional opinion about the project state/direction that the Folio Friday seemed a really good opportunity for that kind of contact.

I prepared my portfolio consisting of the original silver gelatin prints secured by the crystal clear sleeves bought from Silverprint, and also the C-type prints of some of the works I consider to be part of the final body of work.

I did not have any expectations really and I tried to imagine the worse scenarios to not feel too frustrated and disappointed after. The worse scenario would be to get into the state of fear and total black out which I know very well from the webinars…When I feel like that I can’t think, focus, I don’t remember what people say because in panic I search for the right words and can’t find them… and everything is getting worse with every second.

Nothing like that happened and I enjoyed talking about the project and the most characteristic to my practice methods and techniques.

FMP - Geanna Merola

When searching for the artist dealing with cameraless techniques, the photograms or luminograms in particular, I have found Geanna Merola, and Amarican artist and educator.

There is a great archive of her early and most recent works on the website: www.geannamerola.com.

The majority of works/projects are various types of innovative collages exploring the physicality and malleability of photographic records. The works are poetic and imaginary, esspecially the “Pompei” and “Ellis island” series where Merola blends photography with painting and drawing: https://geannamerola.com/section/228811-Pompeii.html

The most intriguing for me is the Heads and Static due to the very familiar computational shapes, especially on the last image: https://geannamerola.com/section/236514-Heads-and-Static.html. The works were created in 1990 so they must have been very innovative at that time. They still are really. The combination of the non human patterns and the human figures in a form of an ancient sculptures is very striking and thought provoking. It illustrates to me the transformation of the human existence through centuries.

The ‘Twilight Series’ and “Signal to noise’ are created with a similar approach. The physical objects which capture the essence of humanity alongside with the images of nature are confronted with the cutting edge technological apparatuses which allow us to evolve on a new levels and search for the answers of who we are and what is beyond our current comprehension.

FMP - Scott Grant's "United Nations of Photography"

Interesting posts and podcasts from the author of the “Professional Photography: The New Global Landscape Explained”:

https://unitednationsofphotography.com/

Some quite provocative and most thought provoking.

The article about the computational photography is particularly interesting to: https://unitednationsofphotography.com/2018/05/29/ok-computer-computational-photography-is-here-to-stay/

but there is also one about the titles for the photographs: https://unitednationsofphotography.com/2018/06/16/bill-jay-titles-and-trends-how-a-photograph-is-titled-offers-clues-to-how-it-should-be-viewed/

FMP - Back to landscape

I have started this project with the landscape images combined with computational geometric forms and the drawing/sketching and now, almost at the end, I am back to the same place but much more conscious of what is happening on the image surface and why.

The lines of source code I worked with in the last months using various methods (mainly the wet print transfer) are now turning into something visually significant and meaningful.

What is happening now is quite characteristic to my recent practice: I decontextualise the functional objects, in this care the lines of the code, and turn them into pure, abstract forms. So, in the most recent works I extracted the very common and recognisable shapes form the source code and changed their meaning by confronting their semantics with their shape. Magnified from the text size into the dimensions of large objects, the symbols like slash, bracket, colon, full stop, apostrophe etc., exist in the image on totally different terms. Placed in the open space of the natural landscapes the symbols are floating in space surreal forms. There is a contrast but in the same time harmony between those two entities - the organic/chaotic mass of physical world and the decontextualised symbols of written communication - the abstract, geometric forms. This fusion encompasses a lot of the important to me aspects and I feel that I am entering the space in infinite library of visual representation which is ‘mine’. The forms which originated in the written alphabet and are the components of the algorithms and other pieces of code building up the digital word means much more than just the abstract shape - they symbolise the absolute geometry, intellectual and spiritual side of human existence and most of all the virtual space of the post-internet world and the “behind the scene” of digital image.

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FMP - Exhibition venue and date

For some time I was convinced I will not organise any gallery exhibition and instead do some anti-exhibition somewhere outdoor and without any audience. I still like the idea but decided to challenge myself a bit and try to go out of my comfort zone.

So, I contacted the Centrala gallery in Birmingham created by Polish PEA non -profit organisation with aim to promote the eastern block artists which seems to be blurred out now and the place operates like a regular cultural venue and it’s quite active on the Birmingham art scene. I was there at the end of August just to see again the space as it was quite long ago when I was there last time. The space is just enough to fit the small 2D exhibition. I asked if there is a chance to squeeze me somewhere in November but the person dealing with the schedule wasn’t there. I sent the official submission online couple of weeks later and in two days I got the “Yes” and two date slots proposition - one in October and one at the end of November.

The November works for me so it will be a week from 27th of November till 2nd December. It will be a firs solo exhibition after a six years break so quite exciting.

The white walls and black floor seems perfect for the works which will be predominantly rather dark. I am thinking of using the floor for some flat symbol display too.

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FMP - Darkroom at home

I thought it will be easier to find the darkroom to hire in my area... I gave up after a couple of unsuccessful attempts to contact those I was able to find online with relatively low hire rates. Instead, I bought all the necessary accessories for making the photograms, contact prints and luminograms and set up everything in my room at home. It worked even though I did not covered the windows properly and had some small leaks of light from the night street lamps. It’s not a ideal solution but the best I could come up really for now and I am really glad I have the flexibility of using it whenever I have some new ideas to verify.

Since the time I had a 5 day’s session in Falmouth University darkroom I moved on with my explorations to new areas of the computational forms: the source code, algorithmic/fractal trees and some other new 3D browser web animations found on CodePen and Google Experiments pages.

The new photograms and luminograms represent those new forms and I am pretty happy with this new direction, especially the elements of the source code which I played with for weeks using the transfer technique.

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FMP - "Experiments with Google"

I was searching for the good visualisations of the Fibonacci numbers in the form of the tree and found very good one on the platform created by Google which I have never come across before: https://experiments.withgoogle.com/

There are a lot of amazing web base experiments there using the Chrome, Android, AI, WebVR and AR. The algorithmic visualisations can be run in most browsers without any plugins.

It is all moving so fast now, really difficult to be up to date with the new technology and it is rather out of my reach to create works using that new cutting edge methods but I am trying to understand what is happening and adapt some bits and pieces, as much as I am able to my practice.

I used only CodePen page so far to find some interesting open source pieces of algorithmic 3D visualisations. I learned how to add the lines of code which allow to place any image/video as a background. I also play with other parameters like camera position, size of objects etc. This are a random values since I don't really understand what result I can expect when changing the numbers but it gives me step by step some basic understanding of the structure of the algorithms and so far it is quite straightforward. Perhaps it is possible to learn the basics to code some simple animations using Three.js which is a Javascript 3D library without a proper knowledge about programming?...

There are a lot of pieces out there which are reusing the same fragments of code and only differs visually. or in the way user can interact with them. The one I use recently is particularly popular. The geometric linear structures floating in the space abstract space, spinning, growing, moving, appearing and disappearing. It is really hypnotising to watch them in that flow of their digital life.