Axonometric Portrait 3

These are the first prints and films which use the full area of the 700×1000 back-projection screen and largest sheet of cyanotype paper. This increased size allows for larger, and potentially more complex, arrangements, and accommodates the longer winter shadows.

The filming apparatus is angled slightly to shorten the lengths of the acrylic arrangement’s shadows.

The process of this arrangement starts in the same way as the previous “axonometric portraits”, with a single 100mm cube placed bottom centre. Two extra cubes are then placed in line with this, without spacing, before another row is established, again using the 50mm cube for spacing. Extra cubes and solid blocks are added to the arrangement. Towards the end of the set-up process a final review of the overall composition leads to a repositioning of a block which was leading to the arrangement looking out of balance.

The takedown sequence is considered in process, to leave certain elements until last.

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First 3 days overlaid using the “lighten” blending mode

I have been experimenting with using different blending modes on the overlaid footage of different days’ shadows.

“Difference” blending mode used on the second and third layers.

“Overlay” blending mode used on the second layer and “difference” blending mode on the third layer.

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When reviewing the days of time-lapse footage I realised that in one of the night-time periods there was a full moon and the moonlight produced shadows on the screen. The moon itself is also visible in the imagery. As it was low light footage there is a lot of visual noise, different in each frame, thus producing a “static” effect to the moving image.

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I have also been considering how to further use the setup and takedown footage to emphasise the perforative aspect of this work.

 

The above versions of the setup and takedown footage use the subtract blending mode on a layer of footage with each block being put into position, over the top of footage of the arrangement with no hands. This inverts the image and minimises the visual impact of the acrylic blocks, and emphasises the motion of the hands.