| CHRIS CORNISH |
| Full portfolio: Download |
| Text: Download |
| Article: Download |
| CV: Download |
| E-mail: chris@chriscornish.co.uk |
| Gallery Representation: galerieschleicher+lange |
| Upcoming show - schleicher+lange, D |
| Upcoming show - Museum Boijmans Van Beuningen, NL |
| copyright chris cornish |
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aberration (Utah), 2012 hand made Globe, 50cm diameter |
the logic of being, 2012 Giclee photographs, 101 x 76cm |
the zone, 2008-2010 |
sample and hold, 2010 spun steel, paint, tripod 30cm x 30cm x 30cm |
green screen 03, 2008 c-type photograph, 75 x 50 cm |
flat earth 01, 2010 inkjet photograph, 100 x 50 cm |
flat earth 02, 2010 inkjet photograph, 100 x 50 cm |
the adventure and the resolution, 2010 video (HD), 2min loop |
arena_01, 2005 video (DVD), 3min 07sec |
module 07, portal, 2008 wood, chroma key paint, 100cm x 100cm x 20cm |
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Digital tools are used to capture the colour, intensity and bounce of light from a specific environment. This 'light map' is then applied to a sphere using traditional globe making techinques. By placing the Globe back into a real environment it becomes impossible to seperate the affect of the real envrionment with that of the echo. The sphere will no longer faithfully sit in either and instead becomes an object caught between two realities, existing in two environments.
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A tryptch of photographs whose existance is dependant on the subject. Each image is a panorama of photographs whose location is calculated using the random placement of markers. The resulting image, while purely technical, evokes a new universe; the markers become navigation points, a star field.
'the aim of any single photograph is the disclosure of the logic of being produced' Vilém Flusser, Towards a philosophy of photography, 1983
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Footage from the 1979 film 'Stalker' by Andrei Tarkovsky is analysed for feature detail and parallax movement. Tracking markers near the camera will move more than those further away, allowing the software to deduce a cloud of 3D points in space. The 3D point cloud is joined to form a wireframe 3D mesh. This 3D shape is a simplified but accurate representation of the environment featured in the film clip. This landscape is then recreated in the real world in full scale sections. | Sphere used to record the lighting properties of any given environment.
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An on-going series of work exploring photographic environments normally erased, replaced or invisible. Images of nothing and everything. Painterly, disorientating and void. | Two dimensional representation of a 3D data. Every x,y and Z co-ordinate of a sphere is converted into rgb data, giving an image that is both completely flat and a true volume.
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Two dimensional representation of a 3D data. Every x,y and Z co-ordinate of a sphere is converted into rgb data, giving an image that is both completely flat and a true volume. | A digital reconstruction of a real space; the painting studios of the Slade School of Fine Art in London, a building which formerly housed the Courtald Institute. In this loaded architecture the camera circles and documents a computer generated aberration; an illusion that must reveal its mechanics to be sustained. At times disconcerting but also hypnotic, layers of imagery blur that which we think we know and how we locate ourselves accordingly. | Spectacle and time are removed from a war scene. Terror and confusion replaced by a curious meditation. The special effect, once a flash of light and a puff of smoke is converted into a dense object, the meaning that it was created to hide is exposed. | Chroma key paint is used to create a bridge between different generations of reality, the sculpture situated in neither. Reference to computer games and the use of a 'portal' as a vehicle of transcendence upon the start and finish of a level. | ||||||||||||||||||||||
