Perception experience - Park an der Ilm 11/05/21
In my experience in the park, with my senses completely open to the environment, I find myself inadvertently in the process of searching for the perfect green to paint a landscape. As if it were a palette, I look through the different samples for the perfect tone to start painting on a canvas. It was very interesting to see myself involved in this process that is so primitive for me. I suppose that the nostalgia for older times in my training as a visual artist sometimes emerges spontaneously.
My "object of high awareness" was this kind of branch with sharpy texture that I could really feel in my hand while holding it.
I want to paint a landscape
Sample taken by rubbing the paper with the grass
Digital photography taken with the mobile phone camera
Digital photography taken with the digital camera
Analogic polaroids taken on different localitations of the park
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Video filmed with high exposure link here
Processing experiment
A mass simulating the sea emerges from the bottom to the top by moving the cursor. Also it displaces like it's calm or stormy by moving the cursor to the left or right.
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I painted a landscape
First steps on the installative work.
"I painted a landscape." I have painted a landscape in which to walk because it’s inserted in a corridor, a transit space, but also to rest and to keep painting it. This work constitutes an installation in terms of expanded photography with which to explore the landscape and its representation.
The landscape is broken down into three layers in which the image opens up and we can inhabit it. This way, we're inhabiting the representation. There's an interaction between body and space. I’m using a distance sensor that acts like the tool to paint this landscape drawing the obstacles it encounters on the grid found on the computer screen. Besides, the digital graphics generated with processing contrast with analogic samples stolen from this ‘real’ landscape.
In this way, it offers a cartography of space, a translation of a landscape that doesn't mind where it is, what matters is its decontextualization, exploring what Mark Fisher refers to as "the weird". This landscape shouldn't be here, but it does.
