A Major Research Project submitted to the McMaster University Department of Communication Studies and Multimedia in partial fulfillment of the requirements for the Degree Master of Arts in Communication and New Media.
This was another rewarding exercise for my New Media Studio grad program. I’ve never done a sustained series of self-portraits, and being challenged to do so caused me to ponder how to compose these perhaps in a critical and new way (at least for me).
We had been looking at a lot of “selfies” so I decided to take more “anti-selfie” approach: instead of up close, I would far away from the camera. Instead of relying on the gesture of a raised arm with a camera pointed back at me, I decided to use a remote shutter release with a cord. Instead of framing the environment to be about me and my dominance of it, I wanted my presence to instead be awkwardly inserted into environments where people were busy doing other things.
What I call “Intervention Selfies” was born.
I made an 11th meta-selfie with some of the other selfies I did not use. It’s pretty funny – can you find all the me’s? Do you really want to?
This post is a school assignment for my class “New Media Studio” (hey everyone). As I understand this exercise, we are to post 10 photos that we’ve taken. Next week we are presenting another photo assignment of 10 works from around our neighbourhood.
Since quite a large part of my photographic practice is specifically about where I live, so I’ve decided to present 10 works that outside of this part of my work. I’ll save the local stuff and its sordid back-story for that next assignment.
This was a difficult but a very valuable endeavour. The tight constraint of choosing 10 interesting photo works over a scope of over three years was challenging but rewarding.
For example, after reviewing so much of my work as chronical narrative, I am starting to believe my relationship with photography is as activity, performance on par with gratifications of memory and communication. Perhaps it was not an approach to create an object so much as a record of meaningful work.
I am pretty much a painter and drawer, even with a camera. Everything I do is composition and conceptual based and sacrifices any notion of being a window or representation in order to try to be interesting.
I don’t know how to use even use a proper camera and I look forward to picking up those technical skills and the chance to work with DSLRs. In the meantime, I’ve been working with my cell phones and whatever software I could hack or was free. Welcome to my digital image revolution.
I scanned the well worn path up the side of a mountain in Mexico with the panorama function of the iPhone 4s, happily stressing both its purpose and ability to render seamlessly. It is important to me at this point that my work is entirely captured, rendered and output through a mobile device and on location during one session.
For me, there are several classical and contemporary themes in the work, such as: the supernatural; a formal approach to landscape; a questioning of political / social issues involving digital topographical mapping; a spiritual journey reflecting on death. There are many other contemplations that are evoked for me when I engage the work, and hopefully there will be for the viewer as well.
I enjoy the compositions of the shadows and the rocks, as well as the idea of a digital shadow cast on real objects through a challenging process of documentation for both the tools and the artist. The stresses of this effort on the image and the human traces archived in the process are a very interesting for me.
As you can see in the previous work, I seem to like taking things apart and reassembling them in different presentations. Including landscapes and the idea of collage led to this kind of work of pulling stills from video I would take on trips and presenting them one by one. More maps of time and space. The below video is from a bus trip many would be familiar with between Hamilton and Toronto, and right through Ford Nation territory. As such, I named it “A Nation’s Official Landscape”. I like the blury smears of colour and the wiry trees and bleakness. It reflects my astonishment of the landscape of southern Ontario consisting almost entirely of suburban sprawl and highways. This is our shared ceremonial landscape and I understand if you grew up in a populous region such as this it is not unusual. But it is for me and this is my way of showing you that, I think.
Here’s another selfie. I like messing around with as many image capture and rendering apps as I can, so I tried to capture my head with a 3D object app. The result is simply simulacrum. I really want to do a whole series of this, whole bodies in groups. Somehow so each part is something you can turn and play with.
Again, I love the idea of imperfect transportation into the digital realm. Perhaps I have Tron envy.
That’s it for now. Thanks for reading the post and thanks to my classmates and Professor for being my captive audience for this artist talk. I’ll take it when I can get it.
Welcome and congratulations on wanting to improve yourself.
All you need to start is a pre-existing figurative oil painting (can be substituted for acrylic – consult your Doctor) with an impasto flare to it. It should have at least one area that wants to leave the confines of the canvas.
I used a still life painting of fruit that I did in 1994. At the time I was living in Montreal and going through chemotherapy. There were over 15,000 empty apartments in Montreal, so I was able to live in a loft in the old port even though I was a student. I lived beside a hydro facility with lots of wires and conductors. I took so long to do the painting that the fruit dried up and a wasp flew in through the open window and worried me.
Step 1: Preparing your Palette
Try to use a painting with at least as interesting a backstory to it and follow the video tutorial below before proceeding to Step 2.
Step 2: The Basics
Are you done? Great!
Now it’s your turn to create a pile of the paint flakes on a neutral surface. Like this:
Now zoom in close with your camera phone, pretending it is a wooden frame. You should end up with something that looks a bit like this:
Don’t be afraid to take photos from different angles or mix up the paint chips a bit:
Great! Now that you’ve got the basics of abstract painting down, we’ll move on to more advanced techniques.
Step 3: Advanced Techniques
Let’s pull that “wooden frame” out a bit to make use of negative space. Don’t be intimidated – the post-it note was invented from negative space. Steve Jobs was famous for creating negative space in the office, and so can you.
Again, express yourself by randomly mixing the paint flakes around a bit. Yes. Good. Like this:
Look at you!
Now, let’s create some “dynamic energy” and spread our paint flakes even further, with an even larger lens. Don’t be concerned about reaching deep inside, but do keep children and small animals away from the designated creative area:
So beautiful. Don’t forgot to pin it with a link back to this tutorial.
Step 4: Master class
You are truly ready to unleash your inner artist. For this final segment, we’ll be using negative space combined with a circle shape. You may recognize a circle from your yoga class or from that power point presentation, but it has actually been used in many civilizations throughout history – and now it’s our turn!
Give yourselves a pat on the back – now you are ready for a rich and rewarding hobby.
And don’t forget about the painting we started with! It’s now a new work too and should be mounted with glee:
Here’s what we call a “detail”:
Step 6: Art as an object
And that’s not the only new work you have – don’t forget about the paint chips themselves. They make a nice ornament if you put them in a glass container. I’ve used a round jar so it will go well with the circles from our master class:
Questions or comments? Please let us know below – and we would love to see how your home abstract paintings turn out, so please feel free to share in the comments as well.
This is the best single example of this relationship so far. From my slide deck presentation for Communications Research Methodology on Chapman & Sawchuk’s “creation research” (Canadian Journal of Communications) and *unexpectedly* put together for me by Google+ during automatic archiving from my phone.
Happy 2014 everyone! Make art not oil.