Gerhard Richter 180 colours, Mont Blanc Torben Gielher and Marco Sodano (Unit 7)

Gerhard Richter's 180 colors, similar to Piet Mondreans paintings of life that are presented in  deep line and pixel. While many abstract paintings are about expression or purity, 180 Colours is about nothing so lofty. Richter used a systematic approach to determine the rich variety of colours; he produced 180 from light to dark. The painting is composed of glossy enamel paint.

This is relevant to my work because of its effect of colour together in formation on the eyes. Richter has had total control over which colours and where they will be put or not put. I have only a similar choice in that i can only contain sections of colour from a massive close up of my scans. I choose whichever i think is the most effective for different reasons but i cannot change any of the colours or replace them because that would be getting between the true scans of the insects skin and would propose to myself "why not just choose and make my pixels from scratch".

Gerhard Richter's "180 colours" 1971

Torben Gielher's "Mont Blanc" Acrylic on canvas 2002 

Torben Gielher's painting relates to my work because it shows me that i could also not format my pixels straight up in the foreground, maybe i could somehow change how the pixels shapes and how they are formatted.

Marco Sodano produced these lego works of classic paintings, touching on that every child can be an authentic artist with lego. It relates to my work in the same way Peter Linn's work did in that its pixelating and pulling the roots of colour and shape forward making it something between curious and recognisable. 

Pixelations from broken bee digital scans (Unit 7)

This work practiced what i highlighted about Adam Lister's work in the sense of the extent of pixelation that i will control. Choosing how much familiar content to give away for it to be effectively curious. 

I used photoshop and paint to pixelate and compose the scans through different dimensions to see what effects they give. The biggest problem in evaluating and making decisions in which is more or less effective is the fact I've seen the original unpixelated scans and that it may be a different experience for viewers that haven't. Fortunately this is all contained in presentation because its my own decision to present or not to present the original scans along side in triptychs or however like I've discussed previously.

Also after watching a documentary about Damien Hirst he talked about colour squares and described that somehow when presented with certain dimensions such as 9x9 it seemed any choice of colour would work regardless of theory or rule.

Bee wing, 9x9

9x9

Scans continued, Non digital blurring and painting (Unit 7)

The bee was dried out and tore apart when i put it across the scanner. The way it scanned instantly made me think of painting and composition, i think composition because of its space and shape and i think painting probably just because of the texture and colour.

When i look at the scans instantly painting, composition and specifically the texture of  Van Goghs' sunflowers come to mind. This may be linked if i decide to work from these scans non-digitally.

Sunflowers (F.452), Oil on canvas, 60 × 100 cm,Kröller-Müller Museum, Otterlo

Sunflowers (F.375), Oil on canvas, 43.2 x 61 cm, Metropolitan Museum of Art, New York

What is lost and gained between non digital and digital pixelation ft. Adam Lister (Unit 7)

Adam Liste turns familiar classics and translates them using flat angular shapes. This work include the same control of pixelation that i will control. Choosing how much familiar content to give away for it to be effectively curious. This has also made me  think about pixelating without digital help and to understanding what is lost and gained from it. Something that is lost is accurate colour which was one reason behind using a scanner to get pressingly close to the death and fabric of the insects i use; changing that puts the artists hand and control of colour between the work, which in effect suggests that if i would to get between my work just a little bit why not just choose all of the colours myself.

"Girl with a pearl earing" Johannes Vermmer

(http://mashable.com/2014/04/30/8-bit-watercolor-art/#:eyJzIjoiZiIsImkiOiJfZ2hwemxsbXA1Nng2ZGdrcCJ9

Scans and pixel formats (Unit 7)

Theseare some cropped and pixelated scans of the first bee i scanned digitally.

Bee with no pixelation

12x12 Bee

9x9 cropped bee texture

Tiny ant scan without pixelation

9x9 Ant

Original digital scans (Unit 7)

Instantly from having used two different scanners and two different bugs i found some great effects. Firstly, from using the scanner at college with an ant i found outside (the second picture below) i saw that the clutter and dirt from the scanner somehow camouflaged the ant and would probably make it unknown to an uninformed viewer that there is even an ant in what they are looking at, thats even after what they're looking at totally. Second is the bee i found and scanned at home, after pressing the lid down on the scanner, it seemed only a wave off light from one side into it and across the scanner like a wave. it looks heavenly to me and props up the shade of the bee so that your aware that the bee is hinged up above a surface. Which maybe if print and present it on a wall face to face will give it even more effect as if the bee were stuck upward against the surface.

Digital scan, uncropped

Digital scan, cropped into square

Victorian photographs and Andres Serrano's "Morgue" (Unit 7)

Post-mortem photography was very common in the nineteenth century when "death occurred in the home and was an ordinary part of life". The death behind my pix-elated images would be invisible behind it. The same can be said for these images of Victorian photographs, but the death is hiding in sight. All of the children in these photos are dead. But its not communicated because you don't assume day life photographs of fully clothed bodies, maybe only at an open coffin funeral.

Andres Serrano's controversial "corpse" series presents morgue photography of the victims of violent death in the manner of beautified portraits. As the common practice of post-mortem photography in North America and Western Europe has largely ceased, the portrayal of such images has become vulgar. 

You are familiar enough with the skin tones and shape but its quite disgustingly unfamiliar in a sence of how much they give away in death, the bag is the most unsubtle thing about it and also makes for great colouring.

Photograph from "Morgue" 1991, Serrano

Photograph from "Morgue" 1991, Serrano