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An interesting Text Art News Article about the Anatomy of Type, Basics and some Effects. I'm sure you'll learn from it!
©2008-2009 `cryptorchid
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Submitted: November 6, 2008
File Size: 522 KB
Image Size: 522 KB
Resolution: 750×750
Comments: 85
Favourites & Collections: 1,307 [who?]
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Total: 31,645
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Submitted: November 6, 2008
File Size: 522 KB
Image Size: 522 KB
Resolution: 750×750
Comments: 85
Favourites & Collections: 1,307 [who?]
Views
Total: 31,645
Today: 1
Downloads
Total: 584
Today: 0
Embed
Thumb
Artist's Comments
artist statement:
What began as an attempt to preserve memory in defiance of an ever-changing landscape of people, has become an experiment in typology. Influenced by the works of Reneke Dijkstra, Brian Finke and August Sander, Some of the People I (Don't) Know explores ideas of familiarity without intimacy; I've begun documenting people I see all the time - interact with daily, have connected to on some level, but who I don't know at all out of their particular contexts. This applies to schoolmates, co-workers, and customers of the cafe where I work. The first section of this project focuses on the latter. My regular customers, consenting to their portrait, are photographed in the cafe, in their context. In photographing them I try to capture the gestures that have made them familiar to me while trying to understand if there is some commonality between the individuals I’ve found myself drawn to. Our interactions while I photograph them also become important as is our interactions post-shoot.
In photographing the series with a toy camera, I find I focus more the conversation being captured; I skip frames, double expose and layer on film, movements run together and moments are isolated, distinguished from the others instinctually as I photograph the subject. Interpretations of colour and light become unique to the individual as no condition is perfectly duplicated from one shoot to the next.
I scan the negatives into contact sheets, while isolating singular or diptych portraits that in my mind capture how I see the individual in memory. The contact images are documents of conversation and changing dynamics, while the portraits become visual manifestations of fleeting moments and tenuous associations.
These portraits are pregnant with the history of how we came to be familiar; and for me, as someone who has near-perfect filmic memory- they are mnemonic devices that allow me to remember, in photographic detail, every interaction with the individual.
It’s a familiar theme for me, using art to explore emotions and analyze what links me to others, and broader still, the world. It is likely my desire to connect on deeper levels with those around me that prompts me to change relationships of small talk and polite distance into something more and while doing so, prove my own existence through my implicit presence.
This change is achieved to differing degrees, sometimes we go on, as we were, only slightly changed by the strange relationship of portraitist and subject, other times this photographic act of conversation has spurred friendship. In the end, my typology remains, these individuals are some of the people I (don’t) know, these are some of the people who (don’t) know me.
What began as an attempt to preserve memory in defiance of an ever-changing landscape of people, has become an experiment in typology. Influenced by the works of Reneke Dijkstra, Brian Finke and August Sander, Some of the People I (Don't) Know explores ideas of familiarity without intimacy; I've begun documenting people I see all the time - interact with daily, have connected to on some level, but who I don't know at all out of their particular contexts. This applies to schoolmates, co-workers, and customers of the cafe where I work. The first section of this project focuses on the latter. My regular customers, consenting to their portrait, are photographed in the cafe, in their context. In photographing them I try to capture the gestures that have made them familiar to me while trying to understand if there is some commonality between the individuals I’ve found myself drawn to. Our interactions while I photograph them also become important as is our interactions post-shoot.
In photographing the series with a toy camera, I find I focus more the conversation being captured; I skip frames, double expose and layer on film, movements run together and moments are isolated, distinguished from the others instinctually as I photograph the subject. Interpretations of colour and light become unique to the individual as no condition is perfectly duplicated from one shoot to the next.
I scan the negatives into contact sheets, while isolating singular or diptych portraits that in my mind capture how I see the individual in memory. The contact images are documents of conversation and changing dynamics, while the portraits become visual manifestations of fleeting moments and tenuous associations.
These portraits are pregnant with the history of how we came to be familiar; and for me, as someone who has near-perfect filmic memory- they are mnemonic devices that allow me to remember, in photographic detail, every interaction with the individual.
It’s a familiar theme for me, using art to explore emotions and analyze what links me to others, and broader still, the world. It is likely my desire to connect on deeper levels with those around me that prompts me to change relationships of small talk and polite distance into something more and while doing so, prove my own existence through my implicit presence.
This change is achieved to differing degrees, sometimes we go on, as we were, only slightly changed by the strange relationship of portraitist and subject, other times this photographic act of conversation has spurred friendship. In the end, my typology remains, these individuals are some of the people I (don’t) know, these are some of the people who (don’t) know me.
Daily Deviation, 2008-11-09
Please take the time to read the artist statement. These series are really fascinating and show an innovative approach to conceptual photography that achieves a surreal aura in the end, so it definitely caught my attention when I got this DD suggestion! sotpik: derrick by *cryptorchid. (Suggested by `peskaa and Featured by ^opioid)
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Comments
great idea
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[iF pAiNtInG cAn Be As ViOleNt As FuCkInG . LiKe aN oRgAsM oR An EjAcUlAtIoN . tHe ReSuLt Is OfTeN dIsApPoInTiNg . bUt ThE pRoCeSs iS hIgHlY eXcItInG]
I adore the concept of this series. I could literally stare at this all day long. Wonderful.
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Complain about your life here.
You are truly an artist. Such a brilliant idea.
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