COVER TO COVER PREVIEW from ART TECH STRUCT on Vimeo.
First I made a lot of images around my home.
Nobuhiro says of his layer drawings;
I am starting work on my cover to cover project. For this project I have to draw the viewers' attention to the act of viewing.
The book 'Cover to Cover' by Michael Snow was to be a reference point to start from.
First I made a lot of images around my home.
Thinking about how to convey the idea of 'looking' within the images.
I was thinking about animals and plants within the home that are not real.
About how I fill my home with bright colours. Bringing nature indoors.
I think this will become a book in due course, but I got drawn away from it by the work of Nobuhiro Nakanishi and his 'layer drawings'
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| Nobuhiro Nakanishi layer drawing |
Nobuhiro says of his layer drawings;
About Layer Drawings
This series portrays changes that take place in everyday life, like the sun rising or ice cream melting. These ordinary events were photographed at regular intervals, printed on transparent film and assembled in sequence. Capturing the accumulation of time as a sculpture allows the viewer to experience the ephemerality of time.
We are all subject to the passing of time, yet each of us feels and perceives it in our own way. Time itself has no shape or boundary and cannot be fixed or grasped. When we look at the photographs in these sculptures, we attempt to fill in the gaps between the individual images. We draw from our physical experiences to fill in missing time and space, both ephemeral and vague. In this series, I attempt to depict time and space as sensations shared by both viewer and artist.
I felt that these works related to my recent images of time passing on a train journey, with reflections and layers within the image.
I was keen to try printing onto a transparent surface.
I felt that his work must be on acrylic, and to do this is very expensive. I talked to a print technician who recommended screen print; but then he advised that the inks would not hold, and that special ink would be needed. my images are light and not entirely suitable for conversion to screen print.
I decided to try acetates first and see how that looked.Acetate is very flexible, and has a rough printed side that has no sheen. I could not envisage making a book with acetate, or a sculpture, as it is too flimsy.
But thinking about Cover to Cover I decided to play with my scanner and see what happened if I further distorted the images.
I had already played with the book "Almost Cover to Cover' by moving the book as the scanner worked. Trying to draw attention to the act of looking.
I enjoy the randomness of this process, and the movement involved as an act while the scanner does its job.
So I scanned and layered, moved things and then printed the scan and re-scanned. I used the acetate and then prints on paper.
I placed my hand on the scanner to draw attention to the process.
I loved the scans of scans, and the distortion of a simple electricity pylon. I was creating new lines and journeys across the page.
I played with colour images and then monochrome and tints.
All of which I enjoy for their feeling of movement.
I played with layering acetates either tidily or loosely to show the layers.
I feel I am beginning to get some ideas for the project.
The hard part is how to show this process in a book. What to conceal and what to reveal.
I have made a first mock-up in Indesign and printed a dummy.
But most of all I got really excited when I placed the two images below on one page and created a new image.
This one ( below) feels like something really worthwhile that has come from this process of experimentation.
About journeys and lines on a page.
And it all came about because I wanted to emulate another artist.
The source image is this one. Taken out of the window on the train from London to Edinburgh.
This series portrays changes that take place in everyday life, like the sun rising or ice cream melting. These ordinary events were photographed at regular intervals, printed on transparent film and assembled in sequence. Capturing the accumulation of time as a sculpture allows the viewer to experience the ephemerality of time.
We are all subject to the passing of time, yet each of us feels and perceives it in our own way. Time itself has no shape or boundary and cannot be fixed or grasped. When we look at the photographs in these sculptures, we attempt to fill in the gaps between the individual images. We draw from our physical experiences to fill in missing time and space, both ephemeral and vague. In this series, I attempt to depict time and space as sensations shared by both viewer and artist.
We are all subject to the passing of time, yet each of us feels and perceives it in our own way. Time itself has no shape or boundary and cannot be fixed or grasped. When we look at the photographs in these sculptures, we attempt to fill in the gaps between the individual images. We draw from our physical experiences to fill in missing time and space, both ephemeral and vague. In this series, I attempt to depict time and space as sensations shared by both viewer and artist.
I felt that these works related to my recent images of time passing on a train journey, with reflections and layers within the image.
I was keen to try printing onto a transparent surface.
I felt that his work must be on acrylic, and to do this is very expensive. I talked to a print technician who recommended screen print; but then he advised that the inks would not hold, and that special ink would be needed. my images are light and not entirely suitable for conversion to screen print.
I decided to try acetates first and see how that looked.Acetate is very flexible, and has a rough printed side that has no sheen. I could not envisage making a book with acetate, or a sculpture, as it is too flimsy.
But thinking about Cover to Cover I decided to play with my scanner and see what happened if I further distorted the images.
I had already played with the book "Almost Cover to Cover' by moving the book as the scanner worked. Trying to draw attention to the act of looking.
I enjoy the randomness of this process, and the movement involved as an act while the scanner does its job.
So I scanned and layered, moved things and then printed the scan and re-scanned. I used the acetate and then prints on paper.
So I scanned and layered, moved things and then printed the scan and re-scanned. I used the acetate and then prints on paper.
I placed my hand on the scanner to draw attention to the process.
I loved the scans of scans, and the distortion of a simple electricity pylon. I was creating new lines and journeys across the page.
I played with colour images and then monochrome and tints.
All of which I enjoy for their feeling of movement.
I played with layering acetates either tidily or loosely to show the layers.
I feel I am beginning to get some ideas for the project.
The hard part is how to show this process in a book. What to conceal and what to reveal.
I have made a first mock-up in Indesign and printed a dummy.
But most of all I got really excited when I placed the two images below on one page and created a new image.
This one ( below) feels like something really worthwhile that has come from this process of experimentation.
About journeys and lines on a page.
And it all came about because I wanted to emulate another artist.
The source image is this one. Taken out of the window on the train from London to Edinburgh.
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