Photos: Projections

by Beauchamp Art

Photos: Projections

Projections work; experiments in conference with Mark Ariel Waller.


Projections - Auto-Organic - 02


Projections – Auto-Organic

Projections of digital works onto one’s face; offsetting digital and organic.


Projections - Cells - 06
Projections – Cells

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 - Drive - 03
Projections – Drive

Projections of the Drive film onto a blank wall, returning the landscape imagery to the larger scale.


Projections - Field - 01
Projections – Field

Projecting the Field film of a metamorphosing circuit board onto a computer screen and wall.





Projections - Micro-Macro - 01

Projections – Micro-Macro

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.


Projections - Refraction - 02 -

Projections – Refraction

Lens flare and other optical effects whilst projecting the Field Cataracts film.


Projections - Synthetic Skeleton - 1 - 03
Projections – Synthetic Skeleton – 1

Projecting the Field film onto a plastic skeleton, creating a cybernetic illusion and artificiality.



Projections - Synthetic Skeleton - 2 -  06
Projections – Synthetic Skeleton – 2

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.