Experimentation in your
In your sketchbook you must demonstrate:
•2-4 Photoshop techniques (include before and after
of images), this can include: layering of images, photo
montage, double exposure, HDR, colour isolation
•2-4 Tactile experimentation on prints, this can
include: burning, scratching, folding, photo sculptures,
painting on prints, sewing on prints
A 20th-century avant-garde movement in
art and literature that sought to release
the creative potential of the unconscious
mind, for example by the irrational
juxtaposition of images.
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Ger Van Elk
‘What I am after is a realistic depiction of nonrealistic situations’
When Ger van Elk was in Los Angeles in 1971 he was
confronted by the aftermath of an earthquake. Under a
chunk of asphalt from a road that had been torn open he
found a cigarette packet with some cigarettes still in it.
This gave him the idea for the two photos of The
Discovery of the Sardines. He replaced the cigarettes by
sardines because he is crazy about sardines. Emerging
from the cracks in the road, the small silver fish at first
seem to be emerging from a dark underworld of human
society, making a fascinating surrealistic image. In
contrast with this enigma from another world, a fast car
is speeding by whose chauffeur apparently has no eye
The subtitle Placerita Canyon, Newhall, California
indicates that the artist has not yet relinquished the
documentary character of The Discovery of the
Sardines; he is eager to convince us of the veracity of
So in addition to an affinity to Dadaism Ger van Elk's
work has a bond with surrealism, the movement that was
to succeed Dada historically. Van Elk's surrealism,
however, has no Freudian overtones, nor is it in any way
didactic, probably because wonder is its source of
inspiration. What Van Elk offers us is not figments of the
imagination but, like Picasso, finds and inventions.
Adding Paint and
The creation of
a Diorama Map
chosen city on
film; pasting and
arranging of the
from my memory
as layered icons
of the city.
www.soheinishino.com - The
• The Diorama Map, which is almost a bird's eye view
of the city, is not a precise google map, but presents
the key elements of the city in a form closer to my
own memory and observation. Therefore, every
single element amongst the enormous mound of
pieces reflects my own act of photographic creation
• Diorama Map series is ongoing and will be developed
in cities all over the world in the future.
My contribution to the project Art for Venice is part of a five-year work in progress: the building of an excessive,
unreal, out-of-time town called Delirious City. In order to recreate each one of their buildings I have borrowed
architectural scraps taken during my trips to Paris, Moscow, Naples, New York City, Shanghai, Barcelona and
Vienna. The result, often erroneously identified with a collage made out of several images, always originates in a
single image that I still take with the same analogue camera I have always used. After being reworked in an endless
digital mirror game, a kaleidoscopic representation of this delirious city is born. I reinterpret these chunks of
reality, bestowing on them a different function to the one envisaged by the original architect for the real building.
Excess, ambiguity and timelessness are crucial in my corpus.
he created the “Hyperphoto”, a concept which enables him to deal with the impossible: to combine both
infinitely big and infinitely small things in one same image, out of time.
To simulate the illusion of reality, Jean-François Rauzier first had to cope with all the inherent limits
inherent of the photographic and technological equipment.
He found his way by juxtaposing, duplicating, twisting images with Photoshop, making it possible for him to
reproduce human vision more accurately.
The Baggage series
explores and expresses
those things in our life we
hold onto. Memories,
UV prints on glass,
suitcase, wood, lights,
From the collection of
work O Mia O.
Inspired by cubism,
photo shoot was made
for a fashion designer.
to form a three
model of the
depicted in the
Skyboxes series: attempts to
capture those moments of
everyday life which are often
overlooked and yet profoundly
Printed onto three layers of
glass using special UV inks
designed to recreate the
properties of natural light.
Each image has been
separated into foreground,
mid-ground and background,
and the three pieces of glass,
form to create a threedimensional scene
John Stezaker’s work reexamines the various
relationships to the
photographic image: as
documentation of truth,
purveyor of memory, and
symbol of modern culture.