Zie “inspiratie” vellen (PDF) van Diana Bokje.
Marc Peterse – Marc Peterse
“Inspiratie vellen” overige deelnemers: Zie email van Diana van 29-10-2018.
Jan Dibbets: Boek besteld op www.bruna.nl en informatie verzameld op internet (Interview en diverse werken). Zie bijlagen.
Jan_Dibbets (1) – Jan_Dibbets (1)
Patrick Hughes: Informatie verzameld op internet (Website van kunstenaar en Gallery Flowers).
Patrick_Hughes_(artist) (1) – Patrick_Hughes_(artist) (1)
When the principles of perspective are reversed and solidified into sculpted paintings something extraordinary happens; the mind is deceived into believing the impossible, that a static painting can move of its own accord.
Patrick was born in Birmingham, England in October 1939. His first exhibition was in 1961 and his first reverspective, Sticking-out Room, was made in 1964. He has been exhibiting with Angela Flowers Gallery (now Flowers Gallery) since 1970.
Hughes’ work is concerned with optical and visual illusions, the science of perception and the nature of artistic representation. He has written and collated three books on the visual and verbal rhetoric of the paradox and oxymoron.
Multiples: The constituent parts of the print – main theme, bottom plane and sky or ceiling – are painted in oil separately on flat paper. The finished painting is duplicated digitally, hand-assembled on board constructions and hand-finished. Multiples are editioned in forty or fifty. About four multiples are published each year.
Collages: The main theme for the collages is Venice. High quality digital prints on archival paper are collaged onto the trapezoidal shapes, the top and bottom, the flat ends and the water reflections are painted by hand; making each collage a unique art work. The collages are editioned in three or five.
Commissions: Patrick no longer accepts commissions, he wants to focus on his own ideas.
Brandon Lattu: “Wie zegt dat een foto plat moet zijn, beperkt door een kader en gemaakt met een (1) lens? Dat zijn de grenzen die Lattu onderzoekt in zijn serie ‘Selected Compositions’.” Etc. (Zie boek “Fotografen over fotografie”).
Brandon Lattu is a conceptualist who uses photography, sculpture, and digitally based imagery, Lattu has carefully labored over the most intricate details of his images to produce works that seduce with a deceptively simple and elegant beauty. At the same time these images resonate on an equally powerful sentient level. The manipulation, clarity, and overload of information in these images triggers the recognition that we can visually imagine a scene such as this but we will never see in this way. In “Miracle Mile”, Lattu utilizes the extent of photographic technology to produce a series of views looking West down the length of ‘Wilshire Boulevard’ between ‘La Brea’ and ‘Fairfax Avenues’ in Los Angeles.
Though Brandon Lattu’s body of work is wide-ranging and deliberately unclassifiable— it includes sculptures, works on paper, and projections—it is unified by his use of digital and analog photographs and his ongoing exploration of how they structure our knowledge of the world. Lattu draws from his personal archive of nearly 100,000 photographic images, which he manipulates in seemingly endless ways to craft his works. With a nod to Marcel Duchamp, he approaches photographs as readymades, combining them into genre-bending forms that strip them of their utility, challenging their historical use as documentary, archival records. In his evocative “Random Composition” (2010) and “Selected Composition” (2012-13) series, he forms geometric wall reliefs out of a random assortment of digital images, which are visible only at the edges of the work, teasingly and suggestively obscured by a front-facing plane of solid color.
Presented on a pure field of black, the only images depicted are the illuminated signs. Contrasting this black field of nothingness, each sign is presented in its accurate place and scale in relation to the section depicted. Perspective is eliminated and some signs appear backwards as one might see them while looking in a side view mirror from a car at night. With careful inspection the viewer becomes aware that commercial competition is investigated in this piece through the presence of stores directly across the street from one another. For example, on the north side of the street, Rite Aid, Staples and Blockbuster vie with Sav-on, Office Depot and Hollywood video on the south side offering essentially the same products. Here and throughout Lattu’s oeuvre, the instinctual attraction of sublime visual pleasure becomes inseparable from intellectual engagement.
Experimenteer met: 1) InDesign template voor collage van eenvoudige foto (Lijnen-spel of kubussen) op basis van Patrick Hughes concept. Gebruik hiervoor de perspectief aanpassingsfunctie in Photoshop. 2) Trapezium – vierkant uitwerking op basis van Jan Dibbets concept.
Horizontaal en vertikaal perspectief (Terras foto’s – November 2018).
Fotominiaturen:
Fotominiaturen (5×8) SBFN – Pictures 20181107001 – Fotominiaturen (5×8) SBFN – Pictures 20181107001
Foto’s:
Fotominiaturen:
Fotominiaturen (3×5) SBFN – Mentoraat 201810 – Sessie 2 – Perspectief aanpassing op foto’s – Terras foto’s 20181125002 – Fotominiaturen (3×5) SBFN – Mentoraat 201810 – Sessie 2 – Perspectief aanpassing op foto’s – Terras foto’s 20181125002
Fotominiaturen (5×8) SBFN – Mentoraat 201810 – Sessie 2 – Perspectief aanpassing op foto’s – Terras foto’s 20181125002 – Fotominiaturen (5×8) SBFN – Mentoraat 201810 – Sessie 2 – Perspectief aanpassing op foto’s – Terras foto’s 20181125002
Foto’s:
Fotominiaturen:
Fotominiaturen (3×5) SBFN – Mentoraat 201810 – Sessie 2 – Perspectief aanpassing op foto’s – Terras foto’s 20181125003 – Fotominiaturen (3×5) SBFN – Mentoraat 201810 – Sessie 2 – Perspectief aanpassing op foto’s – Terras foto’s 20181125003
Fotominiaturen (2×3) SBFN – Mentoraat 201810 – Sessie 2 – Perspectief aanpassing op foto’s – Terras foto’s 20181125003 – Fotominiaturen (2×3) SBFN – Mentoraat 201810 – Sessie 2 – Perspectief aanpassing op foto’s – Terras foto’s 20181125003
Foto’s:
“Presentatie” 2e sessie:
Inspiratie handreiking van Diana Bokje (Jan Dibbets – Nederlandse kunstenaar, fotograaf) gecombineerd met enkele andere inzichten (Patrick Hughes – Engels kunstenaar). Nu nog niets gedaan met andere fotografen: Paul Bogaerts en Marlon de Azambuja. Dus geconcentreerd op perspectief.
Marc Peterse – Marc Peterse
Boek – Jan Dibbets, The Photographic Work (2014) – gekocht en gelezen. Tevens op internet informatie (Interview, etc.). Begrijp zijn perspectivische vertekeningen (paralellogram). Daarna zelf de essentie daarvan fotografisch vastgelegd (Terras foto’s).
Terras tafel gefotografeerd en horizontaal en vertikaal perspectief aangepast.
Toepassing op foto van vloer-muur. Hoe kan weergave/presentatie beeld versterken? (Mentoraat opdracht).
Zie knipsel van foto:
Gedachte(n)/realisatie(s):
Patrick Hughes is als schilder vrijer in werken met perspectief dan fotograaf.
Fotografie is niet per definitie 2-dimensionaal.
Het beeld (Sensor) ervaar ik frequent als beperking, er staat soms te veel op, soms te plat, etc.