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The Painted Photograph
continued
by Bill Jones
Hampson's vision is closer to that of Humphrey, a darker more perverse sensibility with a humorous edge that allows the viewer entry. Hampson obsessively layers his images of puppet-like heads by photographing, painting over, then re-photographing again and again, working between the layers of mediation and the generations in time and digital space. After many such manipulations, the fantastical facial quality subsumes the manipulation and relates a kind of movement, a vibration between layers of process. The head is animated in a kind of stop action, jerking back and forth through the various events of its making.
