Reflection

 

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Goff James,  Reflection, 2017, (Painting, The Three Kingdoms – Heaven, Earth and Hell © Artist Preecha Pun-Klum, MOCA, Bangkok)

Welcome To My Blog.

You are welcome to visit and join me by pressing the my link below.

https://goffjamesart.wordpress.com/

Thank you for sharing your time with me.

Have a wonderful day.

 

The painting, The Three Kingdoms – Heaven, Earth and Hell 

© Artist Preecha Pun-Klum, MOCA, Bangkok

 

The poem used here is the copyright of:

 goffjamesart/photography/poetry

Talking Pictures (8) – Image and Genre

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Goff James, Eight with Two Squares, 2017, FL 3.54 mm, Exp 1/8 sec, f/2.6, ISO 400

All images used here are the copyright of:

© goffjamesart/photography/poetry

Welcome followers and visitors to my blog and another update in my photography diary. The task set was to create and select six personal images across six different genres and then present them for discussion within an open forum. This is the sixth image in the series entitled “Eight with Two Squares”.

Fine Art Photography / Photographic Art / Artistic Photography / Creative Photography  – Definition

Fine Art Photography may be defined as;

  • having no universally agreed meaning or definition,
  • referring to an imprecise category of photographs, created in accordance with the creative vision of the artist/photographer that involves a combination of differing processes – photo-collage, photogram and photography,
  • producing a personal conceptual impression in which the narrative maybe evocative, atmospheric or provocative,
  • primarily being about the artist and where the intention is artistic aesthetic,
  • an incorporation of mixed-media, installation art and assemblage art,
  • not about capturing or documenting reality objectively but going beyond the literal representation of a scene or subject,
  • intentionally being artistically subjective,
  • capturing what the artist sees – an expression of vision,
  • the camera being utilised as a tool to create a work of art and containing elements of artistic control,

“Art implies control of reality, for reality itself possesses no sense of the aesthetic. Photography becomes art when certain controls are applied.”

Ansel Adams

  • revealing that it was created by an artist and not by just the camera,
  • involving an original, deliberate creation and that every aspect of making the photograph in the field and in the photographer’s post-processing digital studio, including the printing, are an individual expression from within the artist, 
  •  not re-presenting objective reality literally but rather through subjective intent.

Reference List

https://photographylife.com/what-is-fine-art-photography

http://www.visual-arts-cork.com/fine-art-photography.htm

https://en.wikipedia.org/wiki/Fine-art_photography

 

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Goff James, Eight with Two Squares, 2017, FL 3.54 mm, Exp 1/8 sec, f/2.6, ISO 400

The image is a composite creative art photograph made up of four different layering processes – the first being a photogram constructed from organic and inorganic materials, the second being photo collage made up of elements pasted onto the surface of the photogram and thirdly a photographic image taken of the work and the final elements were attached in the photo editing process.

The image was taken indoors in normal natural daylight conditions. The camera, in auto mode, was hand held directly above the final composition. Within the image the depth of field is particularly shallow due to focussing so close. A large aperture of f/2.6 was selected to maintain as much sharpness as possible. As the subject was static a long exposure time of 1/8 sec. A slow film speed of ISO 400 was utilised.

Consequently only the very centre of the image can be considered to be in the sharp zone. However the multiple foreground objects remain clearly defined whilst the background and the objects therein and their edges lack precision and are softened through blurring. The crispness of the number eight was achieved by introducing this element in the photo editing process and with the use of layering and filters.

From a compositional perspective the cropped numeral eight, on the blurred grey hued background, dominates the frame and is located off centre towards the left frame edge. The five subsidiary elements are comprised of;

  • the two thin lines that extend across the image from bottom to top,
  • the six fragmented rectangles set one upon the other at the lower right frame edge,
  • the two square shapes – the one situated top right of the composition complemented by the other and found in the bottom left section and finally
  • the triangle descending from the top left frame edge.

The muted background monochrome hues have been accentuated during the photo-editing process through colour adjustment and the use of a Difference Layer. The editing modifications that have occurred have accentuated the crisp outlines and colouration of the foreground shapes making the overall composition sharp and strong.

The process of creating this image contains within itself a sense of creative irony in that though there is a degree of artistic control this image which is unrepeatable contained the seeds of its its own destiny.

There was no certainty with regard to the initial stage how the selected object would have been recorded even though the projected light source remained static. The process of creation, from the outset, was inherently unfixed and dynamic and the final outcome was similarly defined.

The staging of the composition reflects the influence of Cubist artists such as George Braque (1882-1963, French), Pablo Picasso (1881-1973, Spanish) and the American artist/photographer Man Ray (1890-1976)

“… colour acts simultaneously with form but has nothing to do with it …”

George Braque

The reasoning behind this work was to permit the image to act as an inspiration for a painting composition. However the image works as an independent piece its own right.  The figure eight acts as the pivot for the composition. The shapes appear to have been stencilled onto the surface. There is no concrete evidence to suggest that the number eight acts in some overt way as some kind of symbolic or subliminal gesture other than as part of the title of the image. The work is intrinsically a study of shapes within shapes and their fragmentationt in a narrative inspired by movement.

The image not only possess a provoking geometric asymmetry, a feeling of monumentality but also an exploded perspective which is accentuated by its broad spectrum of monochromatic shade and texture as well as its minimalist abstraction. A pleasing counterpoint is created through the use of contrasting light and dark areas as well as the varied textures employed. The viewer is drawn into a strange world  and has to search the image to truly perceive all its content.

“There is no abstract art. You must always start with something. Afterwards you can remove all traces of reality. There’s no danger then, anyway, because the idea of the object will have left an indelible mark.”

Pablo Picasso

The image echoes the genre of photographic construction built up from multi-layers possessing no solid centre but is open to space. It contains a variety of solid shaped elements that seem to float around the dark coloured figure eight the focal point of the composition. The light background is more representational of the natural world. The monochromatic nature of the composition, the various shapes and contrasting textures  creates a sense of rhythmic cohesion.

The composition is a shallow arrangement of planes made up of mundane everyday materials, objects and processes.The pictorial element represents a conglomeration of fragmented forms devoid of volume. The image represents an aerial view of a shape-scape set within the framed edges an empty vista which permits the viewer see into and through it into to the background. The work is characterised, to a large extent, by its very indeterminacy.

As Surrealist poet Robert Desnos wrote in 1923, Man Ray

“… succeeded in creating landscapes which are foreign to our planet, revealing a chaos …” 

Speaking of Pablo Picassos Cubist work André Salmon stated

“ … delivered from painting and sculpture…[photography] … liberated from the imbecilic tyranny of genres.”

Reference List

https://www.metmuseum.org/art/collection/search/265487

https://www.moma.org/calendar/exhibitions/1088?locale=en

http://www.theartstory.org/artist-braque-georges.htm

Talking Pictures 3, Photograms, Paul Klee’s Influence

 

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Goff James, Fear is a habit, Photogram, 2017

Welcome followers and visitors to my blog and another update in my diary. I have continued to take some of Paul Klee’s innovative ideas and introduced them into my work with photograms.

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Goff James, White Line, Photogram, 2017

I have taken the photogram and reconstructed elements onto the surface and then rephotographed the image and then experimented with them in an editing suite.

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Goff James, Box with Two Red Arrows, Photogram, 2017

Paul Klee has had a significant influence on my developing art practice. His ideas have subconsciously started to influence other areas of my practice including working with the process of creating photograms.

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Paul Klee, Affected Place [Betroffener Ort], 1922,
Ink, pencil, and watercolor on paper; top and bottom strips with watercolor and ink, mounted on cardboard,
Zentrum Paul Klee, Berne

Created in Klee’s early Bauhaus years, this piece shows a scene of ambiguous signs and symbols over a background of modulated purples and oranges.

The various strips of color hint at a horizon, their horizontal emphasis counteracted only by the boldly painted arrow, which abruptly suggests something as ordinary as a road sign.

Like the many gradations of colour, the arrow generates movement, compelling the viewer’s eye to the centre of the picture.

The influence on Klee of Cubist still lives, such as those of Picasso and Braque, is clearly apparent: Klee suggests a motif painted from nature while also cancelling it, as though to remind us that this is no window but a kind of abstract sign system.

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Paul Klee, Two Ways,1932
Watercolor on paper, mounted on paper
sheet:313 x 484 mm; mount: 443 x 610 mm)
Solomon R. Guggenheim Museum, New York, Estate of Karl Nierendorf

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Paul Klee, Scherzo with Thirteen (Das Scherzo mit der Dreizehn),1922
Oil transfer drawing, watercolor, ink, and pencil on paper on board,
279 x 359 mm, © 2017 Artists Rights Society (ARS),
New York / VG Bild-Kunst, Bonn

Whilst Klee was at the Bauhaus, he explored distinctive ways of image–making, including transfer drawings. This work was created by tracing the lines of a pencil drawing through a black-inked surface onto another clean sheet of paper. The clean sheet received the outline of the drawing in black as well as additional smudges of excess pigment, to which Klee then directly added motifs in watercolour and ink.

It is the the arching and angled arrows, before which whimsical figures appear to dance, indicate motion and spatial depth that I find extremely interesting. The reference to music, a mainstay in Klee’s life and in his Bauhaus activities, is accentuated by his use of the word “scherzo,” referring to a vigorous and playful composition, in the work’s title. I like this idea of introducing letters and words into a composition. 

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Goff James, Circle and Three White Shapes, Photogram, 2017

This is something that I have experimented with in Photogram Workshop 2. I continue to develop ideas with regard to symbolism and pictorial narrative. The following images are the results of that endeavour.

Gallery

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Reference List

http://www.theartstory.org/artist-klee-paul.htm

https://www.guggenheim.org/artwork/artist/paul-klee

https://www.moma.org/collection/works/79456

All photogram images used here are the copyright of:
© goffjamesart/photography/poetry
Thank you for sharing your time with me.
Have a great day.

Photograms Workshop 2, Klee’s Influence

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Goff James, White Crescent, Photogram, 2017

Welcome followers and visitors to my blog and another update in my photography diary. This week I have again been experimenting with photograms as well as introducing ideas from one of my favourite artists – Paul Klee.

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Goff James, White Crescent and Line, Photogram, 2017

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Goff James, WCrescent with Arrow, Photogram, 2017

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Goff James, 5 2 6, Photogram, 2017

 

I have taken some of Klee’s concepts and attempted to introduce them into photograms. I have taken the photogram and reconstructed elements onto the surface and then rephotographed the image and then experimented with them in an editing suite.

Art does not reproduce what we see; rather, it makes us see.

Paul Klee

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Paul Klee, Historical Site, 1927, Watercolour and ink on paper on board, 355 x 487 mm, Tate.

That which appeals with regard to PK’s work is that it is very difficult to partition him within particular single artistic movement. His works are at times both fantastical, childlike as well as being humorous.

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Paul Klee, Insula Dulcamara 1938  Oil on newsprint, mounted on burlap, 31 1/2 x 69 in; Klee Foundation, Bern

PK was fundamentally a transcendentalist. He considered that the world was composed of many differing realities and that the physical world was only one of them. I find such an idea very interesting in deed. The artist’s use of design, pattern, colour and miniature signs and symbols within his pictorial narratives all speak of a hidden depth and meaning which I find totally absorbing and have become part of my own practices. However PK compositional construction always appears to take precedence over narrative.

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Paul Klee, Tale à la Hoffmann, 1921, Watercolor, pencil, and transferred printing ink on paper, bordered with metallic foil, 311 x 241 mm, Location Unstated

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Paul Klee, Burdened Children,1930 Graphite, crayon and ink on paper on board, 650 x 458 mm, Tate

PK was fundamentally a transcendentalist. He considered that the world was composed of many differing realities and that the physical world was only one of them. I find such an idea very interesting in deed. The artist’s use of design, pattern, colour and miniature signs and symbols within his pictorial narratives all speak of a hidden depth and meaning which I find totally absorbing and have become part of my own practices. However PK compositional construction always appears to take precedence over narrative.

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Paul Klee, Walpurgis Night 1935, Gouache on fabric on plywood
Support: 508 x 470 mm, frame: 725 x 682 x 72 mm, Tate

Another aspect of PK’s work that appeals is the great sense of rhythm and transience that are present within his works as well as his powerful expressive use of intense colour. There is an affinity between between art and music and PK utilises this analogy throughout his portfolio.

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Paul Klee, Abstract Trio, 1923
Watercolour and transferred printing ink on paper, bordered with gouache and ink, 321 x 502 mm,
The Berggruen Klee Collection, 1984 (1984.315.36) MoMA NewYork

I admire the manner in which PK challenged the traditional boundaries that segregated writing and the visual arts through “exploring a new expressive, and largely abstract or poetic language of pictorial symbols and signs. Arrows, letters, musical notation, ancient hieroglyphs, or a few black lines standing in for a person or object frequently appear in his work, while rarely demanding a specific reading.”

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Paul Klee, Static–Dynamic Gradation, 1923
Oil and gouache on paper, bordered with gouache, watercolor, and ink, 381 x 261 mm,
The Berggruen Klee Collection, 1987 (1987.455.12), MoMA, NY.

PK’s work appeals in that it appears to be very childlike with a great sense of spontaneity, freedom and simplicity.

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Paul Klee, Ghost Chamber with the Tall Door (New Version), 1925
Sprayed and brushed watercolor, and transferred printing ink on paper, bordered with gouache and ink;,487 x 294 mm
MoMA, NY

I admire the manner in which PK’s work practice was fundamentally experimental in terms of technique, expressive use of colour and challenging accepted academic perceptions with regard to art and keeping his work within the realm of the “ordinary”.

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Paul Klee, Comedians’ Handbill, 1938, Gouache on newsprint,
48.6 x 32.1 cm, Location Unstated

Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will.

Paul Klee

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Goff James, Red Circle with Four Red Lines, 2017

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Goff James, 9, 2017

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Goff James, Box and Red Circle, 2017

Reference List

http://www.theartstory.org/artist-klee-paul.htm

https://www.guggenheim.org/artwork/artist/paul-klee

https://www.moma.org/collection/works/79456

https://www.lrb.co.uk/v36/n01/tj-clark/at-tate-modern

All photogram images used here are the copyright of:

© goffjamesart/photography/poetry

Thank you for sharing your time with me.

Have a great day.