Creative Practice – Post 2

The Erasure – Contextual Research

Seung Hwan Oh – Impermeance (2012)

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“The visual result of the symbiosis between film matter and organic matter is the conceptual origin of this body of work.

This project is about the superimposition of a moment in microbial growth upon a moment in the life of a person through the projection of one spatial-temporal reality onto another.

The process involves the cultivation of chemical consuming microbes on a visual environment created through portraits and a physical environment composed of developed film immersed in water. As the microbes consume the emulsion over the course of months, the silver halides destabilize, obfuscating the legibility of foreground, background, and scale. This creates an aesthetic of entangled creation and destruction that inevitably is ephemeral, and results in complete disintegration of the film so that it can only be delicately digitized before it is consumed.”

– Boraam Han & Seung-Hwan Oh (2012)

[http://www.seunghwan-oh.com/text1 Last Accessed 10th March 2017]

 

Jennifer Bouchard – Dancing Emotions (2015)

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“As an homage to old school print photography with a modern twist, her series of instant film emulsion lifts represent fading memories, personal to her, altered in such a way that they are cleverly concealed.

‘To differentiate myself I decided to put my Polaroids through the ringer; starting with Impossible Project 600 film. I did everything to them I could think of: I put them in the microwave, in the oven, I set them on fire and even put them on ice. I shoot my original subject and then proceed to photo process through the use of emulsion lifts, scanners and photoshop to create a kind of “hybrid” photo. These shots are layered and create a depth which seems almost tactile and forces the audience to really stop and contemplate the subject of the photograph.

I decided to call the series “Dancing Emotions” as it is a representation of a set of secret memories. I wanted to toy with the line between tangible vs. digital in an ever-expanding digital world.'”

– Jennifer Bouchard (2015)

[https://magazine.the-impossible-project.com/dancing-emotions/ Last Accessed 10th March 2017]

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I initially came across the above two artists whilst researching different ways to dissolve photographs. They both appeared in the Art & Science Journal article Dissolving the Photographic Medium. [http://www.artandsciencejournal.com/post/98993240087/dissolving-the-photographic-medium-the]

What started as a methodology search for the best chemicals and substances to use in order to dissolve the surface of photographs led to the discovery of two very similar artistic practices in theory with vastly different final outcomes in practice.

This has led me to think more about how I want to present my mutilated photographs after their experiments have been carried out. My initial hope was that their surface will have a similar reaction to Seung Hwan Oh’s work; the image will distort and become unperceivable. However, having seen Bouchard’s style of working, I have been inspired to attempt to transform them into beautifully disjointed sculptures to further enhance the idea of these distorted intangible fading memories.

This step won’t happen until after my initial experiments with different substances to alter the facade of the image, yet it has given me a lot of material to think about in terms of pushing the photographs further, mutilating them further, and presenting them as beautifully distorted sculptures.

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