![]() Many of the images are 42 x 42 inches, but in the large 209/LINEAR (Belle Isle) image, the square is divided up into eight related negatives creating an 84 x 98-inch image against the back wall of the gallery illustrating the factor of scale as it demonstrates the possibilities. Vermeulen uses her existing color negatives as the vehicle to produce her lush and beautiful colorful abstractions.Ĭorine Vermelulen, 209P/LINEAR (Belle Isle)- 2019 Pigment print 84 1/2 x 98 inches Edition of 5 To gain the size and scale of these prints, the artist needs to use a large digital printer where the photographic paper comes on a roll, and these kinds of sizes are obtainable. She may then possibly scan her negative and move into the digital printing process. The end result could be achieved by trial and error, selecting a more desirable image, perhaps overlapping a negative or reworking the negative chemically until the required results are obtained. ![]() (Spoiler alert: Not all images are created using digital technology.) This is why you see the numerals along the edges that help differentiate one negative from the next, something only found at the edges of the film. ![]() What is different in these Vermeulen abstracts is that she is taking her existing film negatives (2.25 x 2.25”) and applying chemicals that move and distort the layers of color within the existing emulsion. The idea of creating an abstract photographic image has been around dating back to artists experimenting with contact sheet photography, and more recently been executed by Frances Seward, Alexander Jacques, Ola Kolehmainen, and Graham Crumb, but these artists were capturing abstraction in natural environments where they are looking at their subject through the lens and taking an exposure. ![]() The second body of work, Kodak and the Comet, the photography is comprised of large colorful abstract images. Corine Vermeulen, ISON (Belle Isle)- 2018, Pigment print, 42 x 42 inches, Edition 1 of 5 ![]()
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