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View In My Room
Fine Art Paper
10 x 10 in ($40)
White ($80)
4 Views
0
This is one in a series of Digitally Remastered Drawing prints that are drawn from around the area where I live. It is an area of outstanding natural beauty where the Thames has cut through the Chilterns creating a rolling chalk landscape before the river hits the clay basin on which London sits and finally the sea. This is an ongoing project with currently forty-six finished artworks in the series and there will be many more, but I have selected the best eighteen for display, reaching back to the autumn of 2022, but as the year progresses and I draw more I will replace the older ones or ones that I feel have been superseded with new ones on an ad hoc basis. The idea is to create a collection of landscapes that rolls and evolves with the seasons. My method of working is to create two drawings ‘en plein air’ the first is a black and white drawing and the other is in colour. Back in the studio I use the black and white drawing to create a depth map in a computer graphics programme and then use the colour version to paint the depth map with colour. This provides a layer of miss-registration and additional texture to the drawing. The final version is rendered in a virtual glass cube and the resulting print is digitally printed on artist quality paper at around 31.23 centimetres square (the same size as a vinyl LP cover). The original artworks are not for sale, but they are available as unlimited edition prints at various sizes from this website.
2023
Giclee on Fine Art Paper
10 W x 10 H x 0.1 D in
15.25 W x 15.25 H x 1.2 D in
White
Yes
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United Kingdom
I studied fine art painting in the 1980s and then went on to do a master’s degree in computer animation, since then I have been constantly involved in the television industry (mainly in the design of virtual and augmented reality) and have used my time outside work to explore my interest in time-driven art works. I look to apply elements of chance to my work. The serendipitous fracturing and distressing of images has been with me for a long time, I was buying random vinyl records, sanding them down, photographing and recording them and then inking them up to print at college and that spirit lives on. Mostly these days I write software tools to apply synchronicity and use samplers rather than audio tape and a razor blade. However, that systematic approach to deconstructing audio forms with white noise, effects pedals and re-sequencing led me back to drawing as a primary form of self-expression, but I still need barriers to obstruct the process of looking and mark making. In part I have achieved this writing software tools, but the hunt of primary source material led me back to drawing. The creation of the two halves of an image ‘on-plein-air’, the depth matte in black and white and the colour pass, gives me that excitement of never quite knowing what you until the two are combined and you render it.
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