Frustrating how much more satisfying to me the abstract pieces can be. I'm blushing to say how much I like this one, and yet I feel like it's little more than a needlepoint sampler. But something about it really works for me.
Watched Red Road (2006, directed by Andrea Arnold), a film that features video surveillance as both a central plot device as well as an overall theme.
Not sure how it evolved, but each image here depicts different processes of rendering, culminating in the image featuring a video voyeur. Wallace Stevens through the 'engraving' filter in GIMP, Theodore Roethke through the 'glass tiles', a close-up of the cover of that Stenberg Brothers poster (the cover of the 1997 Christopher Mount survey book) in halftone dithering, and a stippled plaid. I finally hit a satisfying plaid - not sure why this has been a goal, but it was. Each dot you see in the grey, there, carefully mapped. I mean, come on. That's some satisfying OCD right there.
That Roethke photo is used on the cover of Allen Seager's 1968 biography of the poet, "The Glass House." Somewhere I have a postcard of it that my dad sent to me several decades ago. Roethke lounges in a wooden spindle-backed chair, in a heavy woolen suit. The only message, on the back, in my father's barely legible hand: "How does he manage to look so comfortable in early 20th. c. trappings?" By the brain's logic that we cannot yet comprehend, that phrase always with me, always searching for resonance. And the trappings, similarly, having grown in measure.
Frustrating how much more satisfying to me the abstract pieces can be. I'm blushing to say how much I like this one, and yet I feel like it's little more than a needlepoint sampler. But something about it really works for me.
ReplyDeleteWatched Red Road (2006, directed by Andrea Arnold), a film that features video surveillance as both a central plot device as well as an overall theme.
Not sure how it evolved, but each image here depicts different processes of rendering, culminating in the image featuring a video voyeur. Wallace Stevens through the 'engraving' filter in GIMP, Theodore Roethke through the 'glass tiles', a close-up of the cover of that Stenberg Brothers poster (the cover of the 1997 Christopher Mount survey book) in halftone dithering, and a stippled plaid. I finally hit a satisfying plaid - not sure why this has been a goal, but it was. Each dot you see in the grey, there, carefully mapped. I mean, come on. That's some satisfying OCD right there.
That Roethke photo is used on the cover of Allen Seager's 1968 biography of the poet, "The Glass House." Somewhere I have a postcard of it that my dad sent to me several decades ago. Roethke lounges in a wooden spindle-backed chair, in a heavy woolen suit. The only message, on the back, in my father's barely legible hand: "How does he manage to look so comfortable in early 20th. c. trappings?" By the brain's logic that we cannot yet comprehend, that phrase always with me, always searching for resonance. And the trappings, similarly, having grown in measure.