Angela Eames/archive 4

Archive 4: Works (2003/4)

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One-offs series of works
Printed on canvas. Dimensions, 62ins x 62ins (Click on thumbnails for larger images)

Technical statement using Black light as example (image shown top left)

This work was made using 3D Studio Max as the means of construction (drawing) and the resultant rendered image was transferred as to Photoshop (for print preparation). A symmetrical object (in this case a torch) and a location (in this case my hand-drawn biro marks) were used as subject matter. My intention was to explore the drawing of the torch in its specific location as a figure/ground or object/space relationship, (where figure=object=torch and ground=3D space=location). Torch and location (in this case a planar grid) were drawn/built as wireframe positioned in three dimensional space. The planar grid is positioned so that it slices through the torch and both are rotated around the y-axis in three dimensional space. They appear to slant away from the viewer. A camera was set up in 3D space to record the correlation. The work makes reference to the picture plane within the activity of painting/drawing in conventional terms. Torch and location were rendered both as raw wireframe and as mapped objects (i.e. scanned hand-drawn biro mark is mapped onto the 3D objects). I consider the wireframes to be drawing having their own visual syntax (representational) whilst the mapping (hand-drawn biro mark) suggests a further visual syntax (non-representational). The mapping is not intended to reflect traditional modes of drawing where one might employ chiascuro to determine solidity as seen in particular lighting conditions. The independent renders were flattened using Photoshop.

What might happen or what might be seen when these two separate outcomes/layers were synchronised or fused as a single membrane?
Would the resultant image disturb the viewer’s ability to read the object in space?
Unlike previous work, this work required that I make decisions (regarding complexity of wireframe, scale of mapping, positioning of torch/location and of camera etc.,) which I can only really describe as being aesthetic, heralding a deviation from a previous and somewhat obsessive, strategic approach to working. Camera viewpoint was front-on and a directional light source from the torch bulb determined the lighting. The drawn mark/map (multi-directional/random but coherent) charts the virtual surfaces but makes no deference to representational contour, i.e. the demonstration of curved and/or planar nature of surfaces. In the transition from digital image through to printed image on canvas, the physical world stamps its own reality onto the final work. For the viewer, scale becomes all important as translated through viewing distance. Close-up, the viewer is not at all sure how these marks have been made - they possess a kind of neutrality, one that is neither human nor digitally generated From a distance the object comes literally into focus and organised space is sensed by the viewer, although s/he might still not be sure of what exactly is being viewed. There is a kind of familiarity with seemingly recognisable drawn-mark/imagery which is transformed through directional mapping, stretch or shrinkage, and the interference of light

The canvas versions are 'one-offs' and each measure 62"x62" with the exception of Foreign bodies #1 and #2 which are 18"x18"
The larger images on canvas are also available as limited editioned smaller scale prints measuring 24"x24", printed on Somerset paper
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