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Printing and Projecting

Sunday 19th July

Yesterday I worked on the 3 images, blacking them out and leaving small areas of light. These are for digital projection in Slideshow form – through a Proxima projector.

Today I am concentrating on the Printmaking process which I intend to use to create a backdrop or screen for the projected images.

I calculated, mathematically, what size these images needed to be to form a screen of desired proportions.

Having flipped each of the digital images in © Photoshop, they were then cropped into smaller parts. These smaller images were printed onto acetate which was then used in my desk-top press to transfer the image onto different, transparent papers.

Why am I printing onto transparent papers?

Images held in the mind fade over time. Our recollections of a once very real experience become nostalgic, flimsy reminiscences. The acetate printing process I use produces vague, somewhat smudgy images – like our memories, lacking clarity.

Experiences might become confused in memory and several experiences might be remembered as the same event – especially if there is a common theme. I have chosen 3 photographs connected with boats and water. All quite different, but the sharing of a narrative could combine them into one.

At this stage I am investigating ways of showing the images I have selected.

Some of the acetate prints attached to a projection screen. The images will be free to move in any breeze which the projector might create. There will be many more of them – creating a large screen.

The mix of processes in my practice are as follows …

  • Found analogue photographic 35mm slides,

  • Scanned to produce positive digital images

  • Printed, digitally onto acetate

  • Acetates used in printmaking to create new images

  • 35mm slides projected onto the printed images


Hollings, Ken (2015) Cutting Up the Cut- Up, BBC Radio 4, 24th June, 11.30am

Nora, P. (1989) Between Memory and History: Les Lieux de Mémoire. Representations Vol 26 pp 7 -24

Wise, L. (2015) The Forever Now: Contemporary Painting in an Atemporal World. Artforum. (Issue 201503), p 276

Marder, M. History, Memory, and Forgetting in Nietzsche and Derrida © 2004. Epoché, Volume 9, Issue 1 (2004).. pp. 137–157

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