Posts Tagged ‘distortion

11
Mar
12

Sabine Hornig : ‘Windows’ Series (Photography)

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From the inception of her work in the late 1990s, Sabine Horning has engaged in exploring specific spatial and perspectival concerns and the blurring of the distinctions between two-dimensional and three-dimensional space. Employing photography and sculpture in equal measure throughout her practice, Hornig supports and expands each of these mediums by cross-referencing one with the other.

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‘Radically Reduce’
C-print on Perspex
140 x 183 cm
2004
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‘No. 9’
C-print on Perspex
140 x 189 cm
2007
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‘No. 10’
C-print on Perspex
130 x 177 cm
2007
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‘Kleines Fenster’
C-print on Glass
80 x 116 cm
2009
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‘No. 12’
C-print on Glass
115 x 142 cm
2009
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‘No. 11’
C-print on Perspex
150 x 200 cm
2007
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‘Window with No Floor’
C-print on Perspex
140 x 195 cm
2006
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For Sabine Hornig, the window represents a basic, transparent, grid-like system that incorporates her ideas on the gaze, view and perspective, which oscillate between image and sculpture. Hornig finds the windows she uses in her photographs incidentally in modern cities, mostly in Berlin. Intentionally made visible or invisible, the window functions as a prevalent frame that contains certain flows, a certain motility between interior and exterior, public and private, transparency and distortion, open and closed space, and associated with this last pairing of terms, flight and confinement.

Through her activity of foregrounding the transparency (rather than the transparentness) of the palimpsestual threshold of the glass/window in her photographs, Hornig obliges us to become aware of glass (by means of Plexiglas) as a complex structure, a responsive surface and the window as a doubling boundary. In her recent suite of photographs of vacant shop windows, the artist not only expands on our awareness of the optics of the window as a sill, but raises these abandoned commercial spaces from their state of quiescent limbo to places where, in their emptiness, we are given reign to imagine past identity and future existence, where our emotions swing between melancholy and hope in the face of our ever-changing, mutant cities. – [Press Release: ‘Landscape Negative’ 2007]

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Sabine Hornig : Website

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01
Mar
12

Gillian Lindsay : ‘Light Imitating Art’ Series (Photography)

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‘light imitating art: light as air’
archival pigment print
20 x 28 inches
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‘light imitating art #32’
archival pigment print
24 x 36 inches
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‘light imitating art #13’
archival pigment print
20 x 28 inches
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‘light imitating art: light play’
archival pigment print
24 x 30 inches
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‘light imitating art #17’
archival pigment print
24 x 28 inches
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‘light imitating art #23’
archival pigment print
18 x 21 inches
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‘light imitating art: speed of light’
archival pigment print
24 x 30 inches
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“In my ‘Light…’ series, I explore creative ways of altering light sources, as well as camera motion to distort subject matter, producing images that look more like sketches or paintings than photographs…”

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Gillian Lindsay : Website

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25
Oct
11

Daniel Schwarz : ‘Piece Of Paper’ (Audiovisual Projection)

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Video – Daniel Schwarz
Music – Amon Tobin

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In a sculptural work, forms built from paper become organic backdrops for undulating pixels in an audiovisual work by Daniel Schwarz. I like that he describes this as partially “non-mapped.” That is, if projection mapping is the use of software to create calculated virtual geometries on which to project, you can also just point a beamer at something that isn’t flat and see what happens. The appeal of projection mapping is to me really about getting away from flat rectangles – not that there’s anything wrong with them, but because it expands the canvas on which digital projection can work. Sometimes, you want perfectly-tuned mappings, but sometimes you actually want distortion and imperfection. It’d be a shame to lose sight of the latter just because of the novelty (and now ease) of the former.

[Extract : Peter Kirn]

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Daniel Schwarz : Vimeo

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26
Oct
10

Gosbert Gottmann : Modern Sufferings (Photography)

Gosbert Gottmann
Modern Sufferings : Series
Digital Print on Kodak-Endura
80 x 100 cm

Modern Sufferings : Series
Digital Print on Kodak-Endura
80 x 100 cm
2001

Modern Sufferings : Series
Digital Print on Kodak-Endura
80 x 100 cm
2001

Modern Sufferings : Series
Digital Print on Kodak-Endura
80 x 100 cm
2001

Modern Sufferings : Series
Digital Print on Kodak-Endura
80 x 100 cm
2001

Modern Sufferings : Series
Digital Print on Kodak-Endura
80 x 100 cm
2001

The isolation of the individual in the jungle of the big city is the subject of the 2001 series of “Modern Sufferings.” As the title tells us, the series revolves around man and his possibilities of living. With only a limited number of motifs, the photographs depict facades of high-rise buildings in dark brownish shades. Often viewed from below, human beings appear as shadowy figures without identity, if at all. Again, space, time and place do not seem real, everything seems to be a blurred image of reality. Through the use of photographic techniques such as blurring or distortion, the pictures reflect our fast-moving times in which one does not seize the pleasures of the moment anymore.

Gottmann sensitizes us to the causes and results of an alienated life in the urban jungles of our time. Some compositions focus on a close-up view of facades of buildings, where rows of windows are like dark, blank, totally undistinctive eyes. The silhouettes of office buildings and financial districts appear like phantoms of themselves, and sinister facades tell about today’s anonymous urban life. “Modern Suffering” refers to suffering in a world where man can no longer determine how to live within his environment, but is controlled by it. Forced to move faster and faster and to work ever harder in order to avoid poverty, he is threatened to lose his identity and live in the shadows. [Extract : Kunstmarkt]

Gosbert Gottmann : L.A.Galerie




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By Azurebumble

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