Digital Prints.
The development of digital image processing has for me (as it has for countless other artists) vastly expanded and adjusted the resources of practice and made available a rapid turning over of ideas. One consequence of this is that a work in a plan chest can simply become a token of a process, ongoing, endlessly reproduced/retouched within a computer program and screen.
The images below are examples and show amended photographs taken in the ravine of Babi Yar in the Ukraine in 1990, a photograph of Napoleon’s tomb made in 1996, photographs taken in Poland in 1994 and a series of digital prints displayed in the Media Centre Gallery in Brighton in 2002.
The development of digital image processing has for me (as it has for countless other artists) vastly expanded and adjusted the resources of practice and made available a rapid turning over of ideas. One consequence of this is that a work in a plan chest can simply become a token of a process, ongoing, endlessly reproduced/retouched within a computer program and screen.
The images below are examples and show amended photographs taken in the ravine of Babi Yar in the Ukraine in 1990, a photograph of Napoleon’s tomb made in 1996, photographs taken in Poland in 1994 and a series of digital prints displayed in the Media Centre Gallery in Brighton in 2002.