American Popular Culture Volumes Volumes
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Pop art in it is beginning freeze-framed what buyers of popular culture arts experienced into iconic visual abstractions. With the advent of the techno age, visual info circulates in such quantities, so quickly and exponentially, that to comprehend a fraction of it all becomes a kind of production routine in itself. The recording of history and how it’s interpreted has everlastingly changed. The exposure to mass media and buyer advertising has opened up a brave new world of imagery saturation, with a tech savvy generation only too conscious yet receptive to the processes of imagery marketing; including the cautious recognition of the digital photo manipulation that readily occurs to such images, ranging from the air brushing of features to straightout attempts at fraud. The use of digital media has moved from the role of recording and documenting a frequent culture of the time, to one now that gives rise to it is own culture(s), in ever quickening flashes that morph in and out of time ofttimes in unison with the latest fad television series or movie franchise. The ‘spinning pop’ project as usual culture arts, is supported through the maintenance of logs, diaries, and respective volumes of accumulated documentary materials. These documents integrate five constituents through which the nature of my exercise is explored. I have adopted a visual approach to the traditionalisti ‘artist’s journal’, with an broad series of visual, written, and gathered documents that have recorded the works in process. The five documentary parts of this project integrate Collections (volumes of text based source materials); Diaries of digital every day images and collages printed onto copy paper; Work in progress logs (volumes of notes and photographs of the each and everyday work practices); Daily postings to the social networks of the finished works; and including the Digital video compilation diaries. While my work is influenced by Rene Magritte’s great sense of mystery in his juxtaposition of what appears to be unrelated images, I seek a less literal representation of the images created. His aim is to build an ambiguity into the visual language, an intention to engage the viewer on various levels. Generally my painted work is in a pixelated style, and while they are influenced by Georges Seurat’s aim for the viewer’s eye to blend the colours, they are not formulated through the Pointillism technique. The digital work varies in it is use of mediums and presentation, many times produced with archival inks-on-cottonrag paper. Unsurprisingly, we as a collective of artists thoroughly and closely question or examine each facet of life from a frequent culture arts perspective, utilizing all available resource, materials and mediums to depict our interpretation of the world when it comes to us. The use of digital photo manipulation, and the creation of random imagery is just not surprising, nor outside the ‘norm’ of our brave new world. Photography has for a good deal of decades had to combat the accusation of ‘But is it Art?’, and thence as engineering develops at such an astonishing pace, photographic manipulation is the medium at the proverbial ‘coal face’ or cutting edge, at which you would suppose to find artists operating. |
