Output details
34 - Art and Design: History, Practice and Theory
University of Northampton
Das Festsetzen. Artefact: A suite of artworks
• 5 Photographic inkjet prints with graphite pencil drawing 70cm x 90cm.
• Etchings on inkjet photographic print 10x15cm.
• Photolithograph on inkjet photographic print 10x15cm
The context of this work lies within fine art printmaking, and across hybrid traditional and digital processes. This body of artworks explore the digital photographic printed surface and question its significant role in the image making process. The work builds upon the recent research by Wendy Koenig (2009) on notions of visual Interruption and Leo Steinberg’s (1979) essay The Flat Bed Picture Plane. These texts are used as a key reference through which to explore shifts in visual perception through the digital printed surface when a hand drawn physical mark is placed directly upon it. The intention for the work is to bring together notions of surface and flatness with that of spatial illusion to create complex, optical images. The two methods in making this work are key in asserting how the literal surface of the image may sit in direct opposition to the illusionistic photographic image, which can exist at the farthest edges of visual depth through notions of emptiness. The work reveals the importance and significance of the digital photographic print surface as an open surface providing opportunity for physical interruption by the hand made mark.
These outputs are brought together as they all emerge from a singluar body of practical research. The significance and impact is verified by the various invitational national and international exhibitions and conferences emerging from this research. Grey Matters, a joint exhibition at an International central London gallery with Michael Evans, was selected as ‘top 5’ by Whitechapel Art Gallery’s ‘First Thursday’. This led to my invitation as Keynote speaker at Wrexham International print exhibition and also as speaker at Landscape & the Metaphysical conference. The presentation panel at Impact 8 was also invitational. This body of work was reviewed within the article Contested spaces; digital and analogue printmaking by Professor Paul Coldwell.
