by Beauchamp Art
Projections work; experiments in conference with Mark Ariel Waller.
Projections of digital works onto one’s face; offsetting digital and organic.
Micro-projections of various computer-related imagery onto Lego blocks; a pedagogic return to the curiosity for looking at the inner workings of mechanism and mediums.
Projections of the Drive film onto a blank wall, returning the landscape imagery to the larger scale.
Projecting the Field film of a metamorphosing circuit board onto a computer screen and wall.
Micro projections of my films (a variation of Field, and Drive), through a magnifying glass.
“To use a magnifying glass is to pay attention, but isn’t paying attention already having a magnifying glass. Attention itself is an enlarging glass.” [Bachelard, 1958: 158]
Bachelard, Gaston (1958) The Poetics of Space. First Edition Beacon Press.
Lens flare and other optical effects whilst projecting the Field Cataracts film.
Projecting the Field film onto a plastic skeleton, creating a cybernetic illusion and artificiality.
Projecting the magnified sub-pixels of the Long Shadow images, deriving from materials surrounding Aaron Griffin’s To Cast a Long Shadow piece; using a photograph of the comment I posted online describing a sardonic process of manipulating the piece, which uses a captioned image of Griffin’s father’s suicide note. With these images there is a throw back to the skull-rich, now clichéd memento mori of Renaissance and other historical still life paintings, here rendered in modernity’s RGB triptych of the digital image.