For transformation, my first ideas are of broken glass with an image layered on top of it, or things like images being burnt in certain areas to transform it by damaging it.
lucas simoes - burnt image
light sensitive emulsion to print images on glass, then break it
weaving photography - like jigsaw
or stephen j shanabrook - squashing, folding and flattering
lucas simoes - burnt image
light sensitive emulsion to print images on glass, then break it
weaving photography - like jigsaw
or stephen j shanabrook - squashing, folding and flattering
3 Strands
Lucas Simões
Born in Brazil in 1980, Simões now works in São Paulo, exploring material as a form of expression. This is a "a research that aims to fill the support of the the artistic object with meaning."
"Painting, cartography, books, photography, concrete, steel, paper... have already been objects of his investigation".
"Painting, cartography, books, photography, concrete, steel, paper... have already been objects of his investigation".
My Response
After The Process
In my response to this work, I took portraits of people with a blank background so I can print them out and burn them.
I will burn parts of the face off to add a layer of anonymity to the images in their transformation. The fire that burns the work transforms them from regular portraits to a more abstract type of image. I will create a set of images with black backgrounds behind them, so the burnt hole reveals black behind the portrait, but then I will also put other portraits behind them, to reveal another part of the model's face behind it.
I will burn parts of the face off to add a layer of anonymity to the images in their transformation. The fire that burns the work transforms them from regular portraits to a more abstract type of image. I will create a set of images with black backgrounds behind them, so the burnt hole reveals black behind the portrait, but then I will also put other portraits behind them, to reveal another part of the model's face behind it.
Final Edits
Other Final Edits
Evaluation
Overall, I believe that this part of my project was very successful.
Stephen J Shanabrook
My inspiration for this strand in this project originally comes from late 80's advertisement for Commes Des Garçons. This advertisement uses printed images to transform ordinary portraits into an abstract creation that looks almost monstrous and unusual.
The artist of this work is Stephen J Shanabrook, and I will respond to his work and create another strand, by using portraits and folding them to transform them into similar looks.
I will need to take portraits that have full coverage of lighting across the portrait to avoid dark spots that could look awkward after folding them.
The artist of this work is Stephen J Shanabrook, and I will respond to his work and create another strand, by using portraits and folding them to transform them into similar looks.
I will need to take portraits that have full coverage of lighting across the portrait to avoid dark spots that could look awkward after folding them.
My Response
I had the models smile and show a lot of their teeth, and make their eyes as big as possible so I would have larger facial features to work with and fold. I also took quite close up pictures so I would have a larger base to fold as well.
I aim to distort the facial features, especially around the centre of the face. To do this I will make a range of sizes of folds, in no particular pattern to crease the face and transform it into something more sinister or humanoid-looking.
I aim to distort the facial features, especially around the centre of the face. To do this I will make a range of sizes of folds, in no particular pattern to crease the face and transform it into something more sinister or humanoid-looking.
Final Edits
Evaluation
Eye of the Tyne
Eye of the Tyme is an alias of a wedding photographer called Pete, who also did a project that explores time travel, crossing images of the past and present together to show both sides of both times and the difference.
I will explore this work when I visit Rome, however the way the architecture is there shows how buildings have been expanded using different architecture styles over time.
I will explore this work when I visit Rome, however the way the architecture is there shows how buildings have been expanded using different architecture styles over time.
Final Edits
Evaluation
Overall, in response to this artist, I think I created work that depicts the transformation in time of buildings in Rome. This shows how the architecture has evolved over time, seen in the different styles of architecture used in one building. The transformation comes through in my final edits through the cross between ancient, modern and early modern architecture, and how they are integrated together to still look natural but show change over time.
My work could have been improved with better shots being used and composition, however I think the things that went well in this part of the project include a good use of lighting, editing, colour and showing the change in building styles overall.
My work could have been improved with better shots being used and composition, however I think the things that went well in this part of the project include a good use of lighting, editing, colour and showing the change in building styles overall.
Next Development
Alma Haser
Alma Haser is a German-born artist living in England, who is known for her intricate and complex portraiture. Haser uses techniques like origami, collages and mixed media to manipulate her portraits and make them something more abstract.
For this development, I will be continuing the type of work I explored with Stephen J Shanabrook. I am going to use origami to use folds on top of the image, folding other portraits to sit on top of a normal portrait and transform it into something more abstract.
For this development, I will be continuing the type of work I explored with Stephen J Shanabrook. I am going to use origami to use folds on top of the image, folding other portraits to sit on top of a normal portrait and transform it into something more abstract.
My Response
I will be printing images and cutting templates out of them, and using other methods of folding like creating chatterboxes to place over my model's face, covering it and transforming their appearance into something more abstract, to create a level of anonymity without directly covering their face, just twisting the features of it.
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Development 2
Aldo Tolino
Aldo Tolino is an Austrian artist, describing his work as "transdigital". His work consists of folding images into multiple of the same shape, for example folding an image into many of the same size triangles before unfolding them and revealing the texture after he has physically altered the pictures.
My response to his work will include these thought out patterned folds, which I can then use to bend the image and fold them into the same shapes.
My response to his work will include these thought out patterned folds, which I can then use to bend the image and fold them into the same shapes.
My Response
Final Edits
Analysis
Development 3
David Samuel Stern
David Samuel Stern is an American artist who works and lives in Brooklyn, New York.
Stern had a period in his work from 2011-2024 where he worked on weaving images together. In this particular work that inspired me I will be using tracing paper so that you can see through once part of the weaves, revealing both images. |
My Response
For this part of the project I wanted to develop my idea of transformation further. I had already tried the idea of my transformation being my physical process of folding and creasing my portraits, so for this development I explored the relationship between light and my portraits with tracing paper. The light transformed the images by seeping around folds and creases in my folded portraits, and revealed my other images when I weaved them together. I also layered my portraits on top of each other to see how the light altered multiple faces together. I used the light box and physical paper to achieve this.
Final Edits
Development 4
Nicolas Provost
Nicolas Provost is a visual artist and filmmaker. His website quotes "His film, video and photographic work uses the language of film to manoeuvre and influence the interpretation of images of interpretation."
Provost has a short film called "Long Live the New Flesh" which uses scenes from Stanley Kubrick's "The Shining" and a technique called datamoshing to create a glitched effect with his work. I want to shift my work from involving physical manipulation to digital manipulation. When opening an image with "TextEdit" you can see the code of the image, when editing this code it creates a glitched effect. |
My Response
Idea: corruption of images with AI, not perfect images, fears of AI currently and things like neuralink meaning we are becoming closer with technology. AI strips identity from photography and models
Filter - pixelate - mosiac
Process
Final Edits
Evaluation
In this development, I believe I demonstrated the ability to experiment and use a new technique with photoshop, as well as being able to relate my work to a current world topic and have subject matter and meaning behind my photography. I think that although I was inspired by an artist, my work differentiates from theres and is unique to my ideas.
Development 5
I will be continuing my previous development by taking full body portraits of my models in different poses, again using datamoshing to transform them. I want the overall shape of their body to be distorted, but not to a degree that you can't tell it is a person. I will. use the flash with colours again. I will have my models do abstract poses to experiment and explore how the body is changed by this technique. I will stay with the consideration of my theme, how AI strips identity from models, and also explore how it distorts reality.
My Response
Final Edits
EvaluationI believe I was successful in familiarising myself with this technique, and also expanding on my subject matter and ideas that I hope the pictures connote.
I have become more independent in my own work and developed by previous development without an artist in mind, to make the work feel more personal to myself. I think I needed to take more pictures to have more models to work with. |
Development 6
Take portraits of models and then compare those portraits with what I describe to AI, seeing what it generates, and possibly using strips of each to make a full face.
My Response
After many attempts, the AI could not replicate what I asked of it, taking prompts as simple as "portrait of a girl" and making a mess of a girl with two heads and joints that are not possible. This work is compared with real photography, to show the faults in AI in how it tries to replicate humans and emotions.
AI Generated Images
Final Edits
Development 7
In this development I will be sectioning off specific parts of portraits and filling them with the glitch technique I have been using, so that they do not effect the entire image and only a certain square of the model's face.
Final Piece Ideas:
My final piece will be a culmination of my previous developments, focusing on the idea of transforming images through physical processes like folding and scrunching them, but now become a 3D model from which 2D images made a physical model.
Oliver herring, 3d face, print images of glitch, ai and normal photos to put around a mannequin head and create a 3d head from 2d images.
Process
I started by taking pictures of my models head, capturing basic portraits of their face, side-profiles, the back of their head, top of their head, and close-ups of their facial features.
Then I wrapped a mannequin head with cling film and tape, to get the shape of the head. I cut slits in the eyes and nose, as well as adding in pieces of card to make sure the facial features were prominent. I used more scrunched up cling film and taped it down to the top of the head to add bulk for the hair to be placed, and put multiple layers of tape over the whole model so that it kept its shape when I removed it. I then took these images into photoshop and resized them after measuring the features of the face. Below you can see my measurements and how I resized the images accordingly. My next step was cutting a line down the back of the head down to the neck and removing the plastic head off of the mannequin. I taped the back of the head back up and filled it with paper so that it maintained its shape and didn't get crushed. Once I had this I used the resized images to cut out pieces of the face and used doubled sided tape to attach them to the face, eventually having all the pieces match up and create the models face onto the head shape. I used spare cutouts of my pictures to fill in spaces that you could see the plastic wrap through. |
Once I had completely taped all the cut up photographs, the model looked more realistic, but still showed that it was a 3D collage of 2D images. I am going to put the head through a shirt so that the bottom of the neck does not look so cut off. I will staple the bottom of the shirt to underneath the wooden stand I am using to keep the head standing.
Evaluation
Overall, I believe that my project has been a success throughout, especially shown in my final project. My final project displays my growth and confidence in the theme of "Transformation". It shows a culmination of my previous developments, evident through my use of physical processes to alter my photography, such as cutting and folding and other styles of origami. The digital elements of my developments in "Transformation" are also present in my final project. I think my some of my most successful work in this project is what I did with my datamosh technique, which helped me create glitched-looking images. I think that practicing scaling my images in that topic and working digitally helped me prepare for the digital side of my final project.
The artist that gave me my inspiration to create a 3D model of a head was Oliver Herring. Herring's work features a similar technique of putting 2D images on a 3D model, however his models fit together like jigsaw pieces, and are less of a collage and more like origami.
I knew that I wanted to focus on a transformation that relates to my ideas about AI being a threat to creativity and real photography, so I think that turning two-dimensional images into a physical three-dimensional model that resembles a real person puts emphasis on my idea; that photography is our reality and artificial intelligence's increased use takes authenticity away from the art form.
The artist that gave me my inspiration to create a 3D model of a head was Oliver Herring. Herring's work features a similar technique of putting 2D images on a 3D model, however his models fit together like jigsaw pieces, and are less of a collage and more like origami.
I knew that I wanted to focus on a transformation that relates to my ideas about AI being a threat to creativity and real photography, so I think that turning two-dimensional images into a physical three-dimensional model that resembles a real person puts emphasis on my idea; that photography is our reality and artificial intelligence's increased use takes authenticity away from the art form.