More New Work

Some other work that I started while at VSC. I am really thinking I will pursue this for a while:

This is an image that I created using the photographs I took of myself drinking 3 beers. I physically ripped the photos (97 of them) and then re-created a scene from the performance that I enacted in front of the camera.

Some New Work

This is some work that I worked on while doing my residency at Vermont Studio Center.

The first series is about the suburbs and some prominent things I remember about living and growing up there.

Laura Findlay

http://www.laurafindlay.com/

joanna pierides

http://www.ioannaimages.com/

globalmove.us

http://globalmove.us/

Shannon Rankin

http://ARTISTSHANNONRANKIN.COM/home.html

Sarah Frost

http://www.sarahfrost.info/

Todd Mclellan

http://www.toddmclellan.com/

Alex Kisilevich

http://www.alexkisilevich.com/work.html

Anthony Lepore

http://www.anthonylepore.net/index.html

imo Arnall, Jørn Knutsen and Einar Sneve Martinussen

Pretty amazing thinking for this project:

http://www.cmybacon.com/2011/03/long-exposure-photographs-of-wifi-networks/

Macro Photos

So I am going to try my hand at something that has always been pretty interesting to me, macro photography. Lately I think I have been critical of this type of photography because it is consistent with what I did before I came to art school, but I am finding that I might as well make work about subjects that I understand really well. So, I am going to make a series of photographs, and a book about macro photography. But the twist is that I am going to be using all artificial subjects for the photos. Here is my first go:

I'm going to try a rose sometime soon, we will see how that goes.

Be back in a few days...

New book - 1,134 Minutes

Last Monday I made a new book, called 1,134 Minutes. It's a photo compilation of every minute of my day for the whole day. Check it out on my website or on blurb.com.

http://www.blurb.com/books/2103497

http://www.marctpearson.com/index.php?/project/1134-minutes/

recent workings

I moved on from the desert shoot to take a whole new direction, but I'm not going to disclos

e that stuff yet, since it will be in the senior show. But I do have other things to talk about and show. I'm going to talk about what I'm doing for studio first.

I've been reflecting on my sister and I wanted to take photos of some of the spots that remind me of her and then do something to show how she is no longer here. So I started with some photos like this, where I deleted the spaces where she would have been:

These photos were interesting to me and I even took them a step further by using the tool "Content Aware" to fill in the spaces:

This was ok, but I didn't really like it that much. It's too much going on and it doesn't make any sense to me. So I talked with Kyle a bit about it and I decided that I was really interested in these forms of the places that she is no longer. So, right about this time I was thinking that I wanted to take some sort of cellular form and incorporate it into these photos somehow, or into the series. So, I took some cellular-like, body-like photos:

I got some good feedback on a few of these and I felt like I was getting off to a good start. I then incorporated some of the outlines to make these:

I'm happy with these. I like how the outlines are interacting with the subjects inside them, but they blend into each other too easily, so I have decided that a laser cut of the outline would work well as a solution. I have shot some more cell-like photos, but I'll post about them in a bit.

It all comes down to either representation or experience. I have to choose which one I want to try and conquer.

Interesting Stuff

http://www.charlesnegre.com/

Desert Shoot #1

Went to the desert this weekend to try and figure out how to incorporate the satellite imagery into the actual space. It didn't exactly go the way I thought it would, nonetheless I got some interesting images:

Pre Desert Shoot

I'm going to the desert this weekend to make a lot of photos I hope. I'm taking prints to wrap around things, taking prints to prop up and prints to lay on the ground. Hopefully it will work out? Here's what I have in my head:

And so I did a test shoot the other day and:

I'm really thinking I need to incorporate these into the scene a lot more. I need to create some sort of other degree of complication. Not necessarily complexity and insanity with a complete loss of craftmanship and logic, but create a scene that really doesn't make sense at first glance. Then I really think I will be getting somewhere. But all this needs to happen in the field, so here I go to try and rediscover how these two things will come together.