View In A Room
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VIEW IN MY ROOM
VIEW IN MY ROOM
Photography, Digital on Paper
Size: 23 W x 16 H x 0.4 D in
Ships in a Box
Artist featured in a collection
Showed at the The Other Art Fair
This series are Diasec Prints- the image is printed on museum quality semi- gloss paper then sandwiched between 3mm Dilite acrylic and 3mm UV 100 Plexiglass. They have a semi-gloss finish and come with polished edges and a 2.5cm aluminium hanging mount on the rear. This method ensures accurate colour reproduction, light hanging weight in a durable format that protects against damage caused by mould or movement. The semi gloss finish reduces reflection.The piece can be hung as is without a 'frame' look or housed within a traditional frame. Please allow 2 weeks for printing. The technique of exposing a frame more than once first originated accidentally using film cameras. Sometimes photographers would forget to wind the film spool to the next frame after taking a shot. This produced over-exposed, ghost like images as the two shots overlapped in the same frame. As aesthetic appreciation of photography developed in recent decades, the use of multiple exposures as a recognised form of photographic abstraction has increased to the point that now some DSLR cameras offer the function as a creative shooting mode. Like the Art movement known as ‘Cubism’ (1908-1914), multiple exposures allow us to see objects from several angles simultaneously, so that rather than see a single object or scene, we see an overall impression instead. I used the technique to create images that express the essence of the flower rather than showing a traditional representation. Shot with a macro lens, the surface of these images undulates between areas of sharp and soft focus, single and overlapping shapes and pale and intense colour. The anatomy of the flower is broken and replaced with glimpses from different angles. The image is transformed from a single flower to an expression of the sense of the flower as a broader idea. Although this effect can be simulated using computer-editing tools, I prefer to rely upon the camera alone. With this method, it is not possible to plan compositions exactly because there are so many interacting elements such as shape, colour, light, translucence, etc, therefore it is difficult to know exactly how the two exposures will look after they combine. It is not until the camera processes the image that you see your result. The lack of total control over the process inspires me because it often produces spectacularly beautiful effects that are totally unexpected. The technique reveals the astounding beauty of our environment that largely remains unseen.
Photography Print:Digital on Paper
Artist Produced Limited Edition of:1
Size:23 W x 16 H x 0.4 D in
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Born in Australia, Naida Adell Ginnane first studied Visual Arts in 1985, completing a B.Ed (Art) followed by a M. Ed in 2004. Since then Naida has worked in the Visual Arts for more than 30 years, specialising in a range of techniques including 35mm SLR photography and dark room process, painting and drawing. More recently she has focused on digital imagery and film-making. Her students have won state Art/ Design awards and graduated to become successful artists in their own right. Now living in Singapore, Naida works as an emerging artist in her own company, teaching photography workshops and creating Fine Art. Artistic Statement I believe the role of the artist is not to make pretty things, but to challenge the viewer to question what they see and think. I do this by making images that are discernable visually and symbolically, providing the interpretation of deeper meaning. Using the flower as a motif to represent the environment, my work focuses on drawing attention to the environmental issues facing this generation and hopefully maintaining social discourse. My intention for the viewer is to delight and challenge. I draw them in with colour and contrast then surprise them with unexpected details. I use the juxtaposition of the beauty of the natural world with the ugliness of man’s impact, to reach the viewer in an emotional way, to experience despair with hope, and hopefully elicit a response. In some pieces, I use a camera to shoot the flower images, then use digital brushes, multiple layers and masks to ‘destroy’ parts of the flower. Other pieces combine up to 700 digital layers to create imaginary scenes. Current work combines digital images with mixed media such as ink and acrylic paint.
Artist featured by Saatchi Art in a collection
Handpicked to show at The Other Art Fair presented by Saatchi Art in Sydney
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