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Cartoon Cavalcade - The Pentland Experiment - Limited Edition of 1 Photograph

norrie harman

United Kingdom

Photography, New Media on Aluminium

Size: 43.3 W x 30.2 H x 1.2 D in

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About The Artwork

The Pentland Experiment is a specially selected collection of Lambda C-Type Prints, in which Harman depicts a dystopic future on the outskirts of Edinburgh through the convergence of digital and painting. This is an alternative reality, where people emerge as protanganists with abstracted corrupted gestures that are difficult to read. They inhabit sparse landscapes, punctuated with obscure motifs and objects, giving the figures an artificial symbolic dimension. Faces and structures are deliberately blurred from the viewer in these highly staged compositions which utilise Harman’s vast collection of photography, found imagery and TV stills. The Pentland Experiment explores the binary nature of Harman’s practice; both painting and digital. In this body of work, Harman merges digital artworks with leftover oil paint; pushing, pulling and drawing the images through the surplus paint to create ridges and allowing the paint to smear and drip. The over-painting of digital images reference Richter whilst the mangled figuration echoes Bacon and Frank Auerbach. Within the deliberate misrepresentation, traits of venality and demoralisation are observed. Within the corruption of the digital image, there is a breaking up of the information, which leaves the viewer to interpret the space between abstraction and figuration.

Details & Dimensions

Photography:New Media on Aluminium

Original:One-of-a-kind Artwork

Size:43.3 W x 30.2 H x 1.2 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Visual Artist I Edinburgh I Digital Deconstructivist I The Pentland Experiment I The Dancing Plague of 1518 CO-RRUPTED is a collection of Harman’s digital images; images that he has deliberately corrupted, through a specially developed algorithm. From selfies on our phones to medical scans, digital images play an essential role in the way we communicate information. However, digital images are always subject to a range of corruptions such as blurriness, grainy noise, missing pixels, and colour misrepresentation. Harman has always been interested in this area of discordant interference, whether it is from an old flickering tv or irreverent brushstrokes on canvas. The beauty revealed by lost transmissions and corrupted imagery pushed Harman to develop an algorithm that deliberately corrupts digital files as directed. This algorithm is “trained” to recognize the ideal level of corruption required by Harman, by taking in a large amount of data and extrapolating the complex parameters that define the digital images he is creating — including variations in texture, color, light, shadows, and edges. As a result, this exhibition transmits the binary nature of Harman’s practice; both painting and digital. Within the deliberate misrepresentation, traits of venality and demoralisation are observed. Within the corruption, there is a breaking up of the information, which leaves the viewer to interpret the space between abstraction and figuration.

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