I am still fascinated by the enclosed areas in Josh’s photographs and I’ve been taking space from one image and adding it to another.
Josh commented: ‘This is really cool, I think that ”knowing” these photos makes it particularly amusing, and the fact that you’ve mashed my childhood town into my post-uni town.”
Josh also commented: ‘My dark spaces are flattered, thank you’ haha
Anyway this is a very fruitful collaboration so far. i am a frustrated photographer myself and I always had a dream to work with a photographer so I suppose this is it!
Josh has been responding /photographing my felt Mondrian Grid.
He manages to make it look rude and anthropomorphic in ways that question the austerity and purity of the original work.
Best quote off Facebook is that it’s called ‘Mondrian’s The Ballet Dancer’
The object itself is not really resolved but I envisage them as floor standing objects possibly for sitting on.
He has also ordered a print of my graphite drawing and the tracing paper as a test.
More dark spaces revealed… I really love that the information exists within the digital file but that it is not immediately apparent.
Meanwhile I’m becoming excited about the dark spaces in Josh’s photographs and I’ve been using the image adjustments section in Photoshop to lighten up those sections with the hope of seeing more of the subject.
I have always been interested in that scene from Bladerunner where they look at a computer image of a room and zoom in and go round corners to see more detail about whats going.
Josh Redman
The ”Still Life” type images which utilise Alex’s lines and graphite drawing were a result of organic trial and error. I discovered that tracing paper worked well with Alex’s graphite marks, as it has both obvious similarities and differences with her work. The photographs intentionally bring out more mark-making details in Alex’s graphite drawings than appears at first glance to the naked eye, so that the photographs reveal as well as obscure something of the original. By converting Alex’s lines to (mostly) monochrome, and distorting the piece of paper to produce a bend in the lines, I produced something that is at once very similar but very different to Alex’s original piece.
