Emergent technologies give rise to novel art forms, yet the panoramic app installed on smart-phone cameras still awaits its artists. Responding to this conspicuous neglect, Fotographic Phictions proposes a new visual practice that bridges still photography and motion pictures. Peter Sutherland calls it cubist panoramics -- if by cubist you simply mean combining multiple perspectives in a single image.
In 2012, while exploring the panoramic app on his first smart-phone camera (a Samsung-SGH), Sutherland discovered a glitch in its Android operating system, that frees photography from the dominance of Renaissance perspective and the cardinal rule of panoramics -- not to shift the camera’s viewpoint, while you sweep it through the scene to be recorded. Doing so normally aborts the algorithm’s routine, whose early Samsung/Android version divided the sweep into eight separate stills, then stitched them into a seamless panorama.
My artistic practice has often involved the pairing of photographs. I find that image juxtapositions can both disrupt and stimulate the normal process of “reading” the images to extend, clarify or otherwise modify perceived meanings. Indeed, many photographers other than myself have experimented extensively with image pairings, including Ray Metzger, Nathan Lyons, and fellow Philadelphian James Abbott, to name just a few (Note that I consciously avoid the term “diptych” for these pairings because – as one of my art historian colleagues explained - a diptych is a continuous image in two parts, rather than a pairing of distinct images.)
In creating my own pairings, I sort through thousands of images from my own archive, looking for potential matches. When a pair works for me, an overall whole is created that is a synthesis of the two images while also preserving their individual integrity. Often, a “third” image is created that may be perceived simultaneously with the two individual images.
Reece Metzger has always had an interest in photography and its role in fine art.
A visit to Western Australia in 2016 was particularly inspirational allowing him to produce a collection of photographs of man-made and natural geography. These landscapes are reflected in Australian aboriginal art: themes, designs, colors, and patterns. By manipulating selected images, Reece’s photos become abstract elements he inkjet transfers to fabric. He stitches collages adding a three-dimensional aspect. The result is the joining of landscapes influenced by aboriginal art expressed with Western perspectives.
The current series titled 16 Hours Ahead - Images of Western Australia is a collection of photo constructions reflecting his impressions of this land. Reece’s desire is to share this captured atmosphere of the other side of the world.
Reece attempts to present a mystery as to how the pieces were achieved. The viewer asks ‘How was this manufactured and with what materials?’ Each individual construction emerges slowly with the paring of desired colors and textures into an expressive and relaxing composition.