Continuing the series of brushstrokes made to be enlarged, I changed the framing so that the image is a black square with a white border, which gives the print a different, tidier feel. There are 576 strokes on each enlargement, each occupying a 5x5mm square on the original.
Thinking of the (artistic/photographic) process as the subject itself – how different approaches to, and treatments of the subject in the images are perhaps more important than what is actually represented.
As another variation in how I am producing prints for this series, I painted an image on film for the purpose of contact printing, and then printed it on semi-matte fibre base paper which is suitable for hand-colouring with watercolour paints. I wasn’t thrilled with the result, but at least I transferred the idea fromContinue reading “CMY Hand-tinting”
Here is another example of an enlargement from my series of painting-realistic photographs, made on 50x60cm photographic paper. Each different process throws light on the subject in a new way, and in turn presents with it a branch of exploration that is specific to the process and its parameters. Some things work better small andContinue reading “Form Follows Function”
On the nature of expression.
Lengthening the process, while creating further branches of opportunity and investigation that continue to mix painting and photography.
Sort, sift, test, try, discard, evaluate, retain. Making progress via making mistakes.
A brief description of my working process for making painting-realistic photographic collages using the carbon transfer process with the non-toxic sensitiser diazidostilbene, known as DAS.
The beginning of my exploration into painting-realistic photography: the opposite of photo-realistic painting.