WAYS of IMAGE MAKING
- Eyes, Lies, Illusions
by Mannoni, L., Nekes, W. and Warner, M. (2004)
Hayward Gallery, London, 7 Oct 2004 - 3 January 2005
Exhibition curated by Werner Nekes with Clare Carolin and Roger Malbert
- V&A Museum of Childhood
"Deceptive art consists, then, of playing with images, transforming them with light, refining them with optics, animating, deforming and cropping them, and juggling with the laws of perspective. Fixed and moving shadows; silhouettes; tricks with mirrors; camera obscure and lucida; anamorphoses; peep-shows; dioptrical paradoxes; magic lanterns; phantasmagorias; stroboscopic disc; zoetrope strips; seditious, faked, panaromic, dioramic or day-night transformation images; chronophotographic and cinematographic pictures, and so on, all flow into this current and form an immense body of production in the history of the sciences and arts. The particular feature of ‘deceptive art’ lies in its multifaceted ability to bring together areas that, at first sight, have hardly any connection: the physical sciences, the study of perspective, physiology, the spectacular arts, magic, etc."
"In order to create the effect of movement, the disc has to be rotates in front of mirror, with the viewer looking into the mirror through the slits, so that the sequential images are perceived as a moving picture."
This type of image making is really tangible. The audience can interact with the piece by spinning the wheel to actually see the moving image. The images on the wheel are mostly hand drawn. I need to consider how to put this in a fashion context without making it too childish.However, the limitation of phenakistiscope is the number of frames. The image can only move so much within the spinning wheel in 12 frames, and also the ending and starting movement cannot be too different all else, the animation won't run smoothly in the loop.
Untitled, Gazelle (Sehmaschinen)
Viewing device for the inversion of all space dimensions; mirror, prisms, wood 1986
I thought this is quite a creative way to view an image. It'd be interesting to see the audience interest with this device in the exhibition if I chose to try this method out. It seems that this device is more suitable for outdoor environment, as the mirror is reflecting the sky to the viewer without having to look up. Anyhow, I think it's good to consider different ways that the audience can view my work, whichever form it's going to be because in this way, they can engage in my work more.
"Transformation or distorted representation according to a specific set of rules. The figure only assumes its correct proportions and becomes legible when the distortion is resolved, either by changing the viewpoint or by using a reflective geometric body or a prismatic lens."
The original image somewhat makes sense on itself without the use of the cylinder device. It looks quite stylized and like a pattern. I wonder how and what the photograph would look like if it were to be manipulated into anamorphosis form. Perhaps, I could develop anamorphosis photograph as a product of something else and not necessarily have to stick with the way to view an image with the reflective cylinder device because I think it's too old fashion and too complicated to create one image considering the given time. Perhaps, it could be a part of collage or a pattern on the dress.
Hans Holbein the Younger: 'The Ambassadors'
"The zoetrope invited the viewer to look through slits at images on the opposite internal wall of the drum, which rotates on a vertical axle. Interchangeable picture strips with usually 11-13 sequential images are inserted into the drum. Several people can view the moving image at the same time."
Comparing to zoetrope to Praxinoscope, it's a less sophisticated device but easier to make without the use of mirrors. Similarly to phoenakistiscope, zoetrope can only fit 12 frames in which large movement cannot be done smoothly. It's like playing a stop motion animation but instead of using a laptop, zoetrope is the manual way of gif animation. I really want to explore stop motion more, but I still need to decide whether to stick with digital way of displaying the gif or go with the manual way to really explore analog image making verses images that could be created digitally.
An improved device of zoetrope, the transition from one image to the next occurs imperceptibly because the second image merges laterally into the first, before completely replacing it.
I prefer praxinoscope over the zoetrope but the limitation with frames still apply here. If I were to make this, I probably choose this over zoetrope because the movement can be easily viewed in the mirror unlike the zoetrope that can only be seen through the slit, which is sometimes annoying because the audience don't get the same effect as if watching moving image on the screen.
"These translucent paintings, illuminated from behind, were presented to great effect in darkened spaces. The effect of the unpainted, real light not only perfected the illusion of a landscape o architectural scene or a historical event, but also led to the perception of temporal and spatial changes in the static image."
I really like this method because of its playfulness. I've been looking at the theme of surrealism since the beginning of this project which sometimes can be really naive and playful. This method would allow me to be even more experimental with analog process. I could do illustration of a dress and when the light is lit up behind, the dress pattern would changed into something else. The problem is that this may not work with photograph. If I were to do a photoshoot, it's challenging to manipulate digital file rather than creating the image from hand. But I could do this as a side project with illustration.