Digital: ID Works & Distortions
by Beauchamp Art
Works created by scanning various photos from ID cards [in chronological order]
GIF Animations [Click to activate if not triggered automatically]
These works are more responses to thoughts on the pictorial representations of the self and how the facade relates to perception of identity, and how this external image is not a constant when seen, but the internal persona sustains an unbroken narrative from birth until death, gaps only where the memory fails, though it difficult to conceive forgetting oneself wholly, without some form of trauma, neurological condition, or narcotic consumption being to blame.
There is an autobiographical element here, though I believe that if I gathered other people’s ID images, they would be equal varied.
The exception for variation in photos being Paris Hilton, whose aesthetic is unalterable.
Indeed this [found] GIF, and a number of YouTube videos that document facial change over time were in mind when working on these pieces.
There is also a certain amount of self-satire here, in that three of the images are from the same photo, but look different in their three reproductions, and none of which are a particularly effective likeness [I occasionally refer to the image of myself on my Provisional driving license as my fictitious ‘East European, Drug Dealing Cousin’], though there is a general acceptance that no one looks good on an ID card, and quite frequently they have about as much baring on reality as bad drawing.
Indeed, Swedish artist Fredrik Saker used a painted image for his passport, and that was deem perfectly acceptable, as it was a true and effective likeness to life, on par with a photograph, approved by the Swedish Transport Board.
Using the ID card images images, I created number of subsequent works, such as turning the photos into a perpetually looping slideshow/GIF animation, which I re-photographed: ID – II – Misinformation.
For these images, I positioned the ID cards in a scanner, then whilst it was rendering the picture, I moved them around, distorting and warping the images, and subsequently re-photographed the images: ID – I –Inconsistency.
I then processed the images further by repeatedly blurring and sharpening the pictures, and re-photographed them as part of another series of images: ID – III – Untruth.