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The Painted Photograph
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by Bill Jones
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The Painted Photograph
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| Vertical layering one image digitally superimposed over another, like time-lapse sequences within one frame, is common to all the artists. Eric Great-Rex uses the polyptych format and the broken panorama to separate the layers, unshuffling them and placing them side by side. Great-Rex's work is the most photographic in form and syntax. In the broken panoramas which are used to manipulate the images by flopping nd repeating or juxtaposing images that appear to be a part of a larger panorama but on closer inspection are clearly not, show that a narrative can be constructed without resorting to linearity. Within the digital photographic space Great-Rex blurs the line between what we believe and what we see. | ||||
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| All the artists in Digital Collaborations engage the photographic syntax in the digital age, an age when the truth is in the telling rather than in the mechanism of production. Digital imaging has, while removing the hand from the virtual construction of the picture, reinstated its dominion by opening points of entry into the layers of mediation which were once considered alienating and inhuman. David Humphrey, Cathy Cone, Yasumasa Morimura, Mark Hampson, and Eric Great-Rex each in his or her own way, and through their collaboration with Jon Cone, enter the process, opening new doorways and marking new pathways into the realm of digitality. They privilege process without sacrificing the integrity of the image. They institute narrative without relying on linearity. They show that digitality offers a fusion of media by not discarding any past accomplishments of the hand, but rather by re-establishing them under an ever-expanding roof. | ||||
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