PORTFOLIO IMAGES

One of the major problems I had with this project was deciding what to present as a piece of considered and finalised work. Even by generating a variety of different processes and methods, I felt that the the strongest elements and clearest realised pieces somewhere in the middle of the project. Even though i’d produced a lot, the work failed to take a path and instead created this bubble, where these themes were manifesting and id become a bit way laid by the complexities of what I was trying to do. In spite of this I feel that the work I was making towards the end of the project was helping to clarify the ideas and concepts of what I am calling my portfolio images.

ROAD

In this final set of images I have reworked  some of the moving images I was creating. This time I have tried to be quite adventitious in an attempt to split the frames in the original video and use this to piece back together these still images. As we work our way through the series we experience slowed down journey between that denotes the start and end of the clip. If we think of the frames as a sequence, I have arranged the first ten frames and blended them together to create the first image. I have then repeated the process but this time subtracted the first two frames and added the next two frames in the sequence. What this does is alters our experience of time by exposing us to ten individual frames at a time. Blending together these frames creates a ghostly trail across the skyline of a city. Viewing the images we see a distorted essence of a true image. Thinking back to the Structuralists we face an awareness of film being an illusion. The structure of this process has also been predetermined. Its eventually has been realised through the methods undertaken but this preconceived plan already existed as an instruction. 

Do these images purport images of a city or are they exposing an altered sense of reality. When the images are placed back into a moving image sequence there are aspects of the work that are lost while others are gained. One thing that I noticed immediately was the motion dramatically reengaged us with the sensation of travel. It was now much clearer there were shapes of cars where as before there was an ambiguous presence of shape. What the moving image did reinforce was the fact we were staring at multiple images. We become trapped inside the frames and are jolted forward one by one. Despite the fact the clip is quite short, on repetition we regain the sense of mesmerisation that I was begin to achieve with some of the earlier work within the project. 

I also created a panoramic scan of the road, this combined the images to create this uncanny cityscape. This mix of images starts to work well but i felt discomfort between the failed juxtapositions. There are sections of the panorama that are formed really nicely but others that just let the whole image down. Personally I feel that the individual images convey these concepts of structuralism with the greatest effect. They also creates  these great aesthetically tones and intriguing patterns that evoke emotion. The intricacies in some of the convulsions capture the eye and there is reason that these image should be viewed for a long period of time. 

35 PEOPLE THAT NEVER EXISTED

In a secondary response to ideas of how we see and experiences images, that I brought forward in my last post, I began to look at people rather than space. This time I was responding too the title;  35 People You Won’t Believe Actually Exist. I touched on the idea that this work was starting to play with a sense of post-modern irony but I feel that this series is firmly rooted within the comic. Again I made use of the ‘content aware’ feature to turn these 35 people who I may or may not exist into 35 people who never existed. In some of the images the figures have completely disappeared, yet in others we see this faint trace of their existence, as if what they were up to was so preposterous that it could never really be forgotten. 

On top of the series of images, I also created a GIF animation that showed these images in a quick succession. I had two original reasons for creating this the animation, the first being to hide some of the imperfections in the removal of the figures. Which kind of of played on ideas of trickery of images. Secondly I wanted to try to recreate that fast paced bombardment of viral images we see on our screens in current times. As we watch the animations were constantly catching up on the abundance of images and left a little on the back foot not very aware of what it is were experiencing. Perhaps in some way the audience existence starts to be questioned in this profuse repetition of imagery.