An animation idea. I have photographed and recorded the changing faces of the post tops for many years and, I admit, I am struggling to find a suitable way of presenting these portraits to illustrate their change over time. So, as well as presenting collected images of individual post tops (shown here) I am now working on an animated series of images.
I start with a view of the sea splashing against the groyne (and my boots). It will be interesting to see where this goes, but, at the moment, I am enjoying exploring the process.
Faceless Portrait: The Very Centre, is my submission for the Sussex Open 2017.
Using digital space and objects, in a digital 3D environment, I am exploring its potential to weave a narrative to examine the sense of self in a portrait. The images enclosing the bust present aspects of personality, while camouflaging and then influencing our perception of the image. The face is disrupted, but not excluded – it is a faceless portrait.
Inside looking out.
I collect, make, and see.
My face is not me.
The very centre.
Dad is every thing I am.
Nothing left unused.
Faceless Portraits now looks at another role – another narrative that is an integrated part of my life. The digital head remains the same but a different camouflage image is imposed. This is Seeming Restriction (FP02)
Each Faceless Portrait is a separate book in a series – a new narrative as I examine this individual’s life and my sense of self.
In Random Compromise (FP06), I enclosed the head in a virtual `glass case’. To encase something in a glass is to present the contained object as precious and so requiring protection. It presents a physical barrier to full access at the cost of a visual one. It suggests a perceived value but this is redundant in a digital environment where there is no physical access. In the digital world, this encasement is purely a narrative device.
Interestingly, as I am the subject of this representation, placing the head in a glass box induced an unexpected sense of claustrophobia.