Analog/Digital Curated by Samantha Mae Dorfman LIST OF ARTISTS- Matthew Barolo & Tabatha Tucker Aileen Bassis My work, "Suspicion" is part of a series of related images created in response to the events of 9/11. I transformed the photo image through printmaking, onto both tracing paper and white paper. The work uses traditional media: photography and printmaking, The simplified image, the pencil on paper, the thread and the pin piercings all emphasize the physicality of the paper, and the intrusion of my perception and emotions into the image. It seems appropriate for these fragile and tenuous times. Jennifer Berklich I shoot photographs manipulated by using filter, focus, and angle. I then transform them into transfer prints, using some or all of the original image. Through this process I begin to break down the image, taking them farther and farther away form the point of origin. It is like the process of the alchemist, mixing, adding, subtracting elements creating an altered substance. Jochen Brennecke (http://www.hyperart.com) My work is a part of my outer world (reality, physical presence, existence) and a part of my inner world (emotions, imaginations, dreams) = the potential of digital tools. I, later, reconsider these photos to create a new image. I feel free from the borders of camera, object, and time. I call them HyperPhotos. Jose Camacho The use of collage has been the technique through which my work has found form. My creative process is, in part, a controlled randomness. The surface becomes cluttered, dirty, and darker. I am interested in the transformation of technique and materials into imagery. Finished works retain a coherency, yet appear informal, like they were merely thrown together. Mike Childs The patterns of windows and balconies in my paintings create a numeric sequence that can change slowly from section to section to suggest a logical depth of space or contradict the viewers expectations of perspective. I deviate from the viewer’s expectations which are often set to this older system based on the Renaissance idea where the viewer looks into the picture and sees the depth of forms diminishing to a single vanishing point. I ask the viewer to take a second look and to question the way that s(he) observes everyday objects. Peter Coe (http://www.pcoe.com) My paintings are, essentially, previewed by being built on the computer before being executed in the studio. The gestural hand is digitized through scanning and using standard graphics software. The relief forms in the paintings are built using 3D modeling software, and then produced directly from the computer using a CNC routing table. The computer process gives me the ability visualize the paintings, edit the images, and test different variations. Pre-building the painting in this way frees me to paint. My finished paintings have an ambiguous relationship with virtual reality by being grounded in the sketch and in digital technology. They are tactile visual objects that exist here in real life. Liz Demaree I am a regional artist concerned with the character of a specific geographic area, a rural area quite close to NYC. The images here use my own original photographs which I then scan and print out from my computer on an inkjet printer, using various types of paper: rice paper, mulberry paper, Arches cold press, watercolor paper, fine printmaking paper, etc. I manipulate the art only slightly; to enhance color, or to soften the edges. Using media which is more absorbent than traditional photographic paper gives the images a more painterly feel, and often adds texture and softness where none existed on the original glossy print. I purposely keep the pictures small to give the sensation of looking at an old scrapbook album. I enjoy creating art that looks somehow nostalgic using very modern technology. Oliver Diaz (http://www.oliverdiaz.com) This painting was composed on a computer and then traced onto the wood. I have animated the inanimate, by using paint as a kind of skin. The subject matter echoes this agenda by exposing the fragile balance of things. Samantha Mae Dorfman (http://www.molekular.net) The piece selected for this show was created by combining scanned original photos of everyday vistas using computer graphics software. The images were selected to create a kind of non-linear story. The hybrid image was printed onto canvas and stretched like a “traditional” painting. This technique allows me to create images based on painterly compositional techniques while incorporating my love for photography and computer manipulation. Damion Dreher (http://www.damiondreher.com) I create line drawings and sketches which I then scan through my computer onto printer paper. I transfer these images onto the painting surface while adding layers of texture and color. Finally, I reinforce the lines of the image while leaving specific areas of interest exposed for the viewer to explore. Barbara Aleene Edwards (http://www.art-exchange.com, search for "Barbara Edwards" ) My photographs are shot with black and white infrared film and an extremely wide angle lens. The prints are hand painted with Marshall's photo oils which gives the pictures an old fashioned look reminiscent of hand-colored Florida postcards of the forties and fifties. In the words of one of my photo heroes, Imogen Cunningham, "I give myself permission to be old fashioned, why shouldn't I?" My color is invented and exaggerated to satisfy my eye with little thought about the actual color of things. Paul Lachenauer The series “Route 22” roadscapes depicts a typical modem American commercial landscape dominated by large scale retail stores, high speed traffic, parking lots, and fast food restaurants in Union County, New Jersey. It is an automobile environment, where the pedestrian would be lost and out of scale. This sort of modem landscape provided an interesting subject for me as a commentary on modern culture and urban development. The technique used to create the images is called “cross processing” where color transparency film is processed in print film chemistry. This alters the color and the contrast of the resulting negatives. Susan Napack “Protection Series — Mandalas” This image is one in a series of digitally produced fictions reflecting on my experiences with contraception and in-vitro fertilization. I use the universal symbol of the mandala to signify the self, as well as, the whole. Digital manipulation allows me to transform known objects into unknown realities. The drawing quality of the inkjet printer on fine art paper further enhances the transformation. Leah Oates (http://www.leahoates.com) My current body of work explores the passage of time and the fragmentation of memory during the moment of perceiving. My work begins in a specific location gathering fragments of sound, image, smell and emotional response to environment and space. The books showing in Analog/Digital are entirely made from digital files and a computer which create a movie-like stream of images and fragments. Harold Olejarz (http://www.olejarz.com) A pre-computer dictionary definition of digital is “of or relating to the fingers or toes” while the more contemporary definition is “relating to data in the form of numerical digits.” Though photographic, my work, is not an image captured by a traditional film or digital camera. It is a visualization of the performance of my two hands on the surface of a flatbed scanner. Unlike a camera, which captures an entire visual field in an instant, the scanner views my hands pixel by pixel, line by line, over time. Art Paxton (http://www.paxtonphoto.com) "Friday Harbor Reflections" began life as a nearly abstract photograph. Once it was scanned, the image quickly became fodder for explorations of color and texture. With all the digital layering possibilities at my disposal, most results are predictably mundane, but I know that if I pursue it, a latent gem will be exposed. Gary Petersen Over the years, my work has been involved with injecting abstraction with the cartoon, the figure and the erotic. My paintings are influenced by the artificial and are manipulated into a new state of the “natural”. Distinctions between the artificial and natural are no longer relevant. The image exists like some new genetically altered specimen. The blips attached to the lines can be read formally or refer to several things in the real world: patterns on clothes, microscopic particles which have attached themselves, or an aneurysm of the line. These paintings are comfortable existing in a world where the natural has come to mean infomercials, steroids, and facelifts. Lisa Ramsay My photographs are about rich tonality, subtle subject matter that evokes a story, a mood, and a moment in time. The Holga camera I use produces photographs with flared edges that have a soft dream-like quality to them. Photographs created with the Holga camera are at the opposite end of the digital photography spectrum because the Holga camera has no settings, controls, or adjustments that can be made during the creative process. With digital technology, one can manipulate, alter, and delete images. Artists push the boundaries in their work whether they are using Analog or Digital photography. By showing both processes side by side, viewers can see diverse styles of photography. Elizabeth Riley Carol Rosen Photography introduces a sense of immediacy and reality to the world of abstract and surrealist invention. It juxtaposes various temporal experiences with the world of the imagination, leaving the viewer suspended between the two states of mind. Robin Ross (http://www.robinross.com) Kim Salerno Technology and commerce are inextricably intertwined. Today, there is no limit of different media for making art. One is likely to encounter works that use a variety of plastics, polymers and other synthetic materials. “Band-Tailed Pigeon 1” is an amalgam of fragments from nature. I collect and print directly from real leaves and twigs using a combination of commercially available art supplies . I layer additional shapes and patterns of more “natural” imagery. Craft store materials such as string, glitter, and seed beads underscore the tension between the images from nature and contemporary material culture. Patrick Schmidt I am interested in how and why juxtapositions work as underlying latent imagery. Placing two contradictory patterns together creates a dyadic analogy. All cultures have patterns to symbolize their knowledge, beliefs, and social mores. I appropriate image patterns from wallpaper sample books, then intermingle them to obtain an interesting perceptual dichotomy. Patterns are used as a facade; the images are perceived intuitively creating a plane of consistency. Color schemes are chosen to enhance the dichotomy creating a state of repose between patterns. Neglecting the original color composition and putting pattern on canvas deterritorializes the motif and removes identity and ownership. Jay Seldin (http://www.jayseldin.com) The use of technology has played a major part in the creation of many of my pieces but all of my work has its roots in traditional methods. The process always begins with an analog approach using camera and film. All images are scanned into the computer, layered, blended, manipulated, and digitaly printed as giclees. The piece is finished by painting hot encaustic wax over parts of the image to help create a mood. Hyungsub Shin My art making process is fueled by a constant search for an exceptional function in ordinary objects. The selected objects are disassembled, crossbred, and combined in a manner predicated by their singular function and appearance. I happen to believe that the objects can dream. When their dreams and my imagination overlap at an unexpected place in a chance moment, I discover that I can create something new. Roger Tucker (http://www.rogertucker.com) “Scapes” the term I use to describe the subject matter, settings, and arrangement of photographic montages, present the visual equivalent of psychological mindscapes. The idea of barriers, real or imagined, is also explored through these comparisons of the larger image to the related smaller images. Pixilation and the abstraction that results from the digital enlargement calls attention to the technical process but it also gives the viewer a different way of experiencing the image. Meredeth Turshen These mixed media works on paper, mounted on canvas, are based on photographs I took in Morocco. I printed the slides using the Polaroid image transfer system, which involves taking a Polaroid print of the slide, peeling apart the film prematurely, and printing the negative on moistened watercolor paper. I then reworked the images as monoprints, painting in oil on metal plates and using an etching press to transfer the paint to the Polaroid image. In some instances I added collage items. The works are finished with a surface of transparent encaustic, which protects the paper and gives the work a mat look. There are many ways to bridge the divide between painting and photography. Polaroid transfers produce particularly painterly images and lend themselves to reworking in oil, watercolor and pastel. I found this techniques well suited to expressing the lyrical beauty I found in Morocco. Bill Westheimer (http://billwest.com/art/) I use the photogram technique which uses the object without the interference of film and lens to reveal the fundamental nature of the entity itself. Taking the objects into the darkroom, I use their shapes, shadows, and essences to expose conventional photographic paper. From the original one-of-a-kind print I use digital technology to scan, enlarge, and print the image in monumental sizes. This is similar to the technique made famous by Man Ray, Laslo Moholy-Nagy, Christian Schad and others. The technique is the most basic and often lensless photographic technique, which I marry with the most modern digital technology to make archival pigment prints. Our world is filled with objects that have been rejected, are broken, or have outlived their usefulness - the unwanted. I recycle this detritus into pictures that are vibrant, lyrical and mysterious.