I left aside the model this weekend to focus on the construction of an image through photography and the use of real model and filters. The idea is to sample existing figures and recompose it as a collage / collapse into an other environment. From the ordinary to the other-ordinary (and not necessarily the ‘extra-ordinary’). The ‘real’ is being transformed through the use of a disruptive figure. I think the method of trying to understand and test the construction of the image of the city is still the same – i am only looking at how you can incorporate details so that the narrative doesn’t come from the deconstruction of the set (when I zoomed out to reveal it or when I show that everything was an assemblage) but is embedded in the image itself.
So I am still working on the idea of construction vs. deconstruction. But the deconstruction is part of the construction. It brings some interesting question to build a deconstruction. Therefore it deals not only with a collapse of place and scales but also of time, questioning the contemporary policy of the new / the refurbished / the changed…
In that regard there is an interesting work by Albert Whitlock, who was doing matte paintings (paintings on glass) for Hollywood. Especially on ‘Earthquake” (1947), where he was ask to work on the complete deconstruction of a city after an earthquake and how to represent it. See below (all paintings !) [for which he won the Academy Award for Special Achievement in Visual Effects in 1975]
I have also been researching on Matte painting and its intense use in film from the 40-50s to the invention of digital renderings (also some directors, like Nolan, are still using it – also as he still refuses to use digital computed visual effect – but they are sort of combining the two [projecting a digital image on a glas]). BBC’s Horizon TV program, in 1985
Here are a few quick trials using high-res cracks print on acetate.
Then here are a couple of holes, cracks, fissures, splits that I have start to work with on photoshop to be able to use then later with on my photographies. It’s really raw material for now.