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I am drawn to the opportunity to make new types of art works. To create pictures that allow for continuous change of colour, texture, image, and mood within one picture. To make information flow from the surface, so the viewer is drawn to move to discover and interact. Much as Aubach managed with those thick layers of paint that were exquisite but incomprehensible from close up and from a distance very detailed and clever.

I find the Lenticular medium an un-tapped optical vehicle, unique in being able to produce dynamic imagary and communicate in a way different to other media. It is a hotchpotch of TV / film, the photographic, the holographic, animation, optics and print. It has a large and diverse potential for all types of art, architecture, design, construction, marketing, education and educative historical documentary. It is difficult not to want to take advantage of all of it.

I concentrate on and enjoy hugely creating story portraits for individuals, companies or families; collecting their lives in photographic/film hard copy and turning it in to an animated historical docu-artpiece. Bringing a family to life at both different and similar ages at the same time in similar poses gives you the most out of the genetic comparisons a lenticular delivers with multiple imagery within a piece. I feel lucky being able to meet so many people, be invited into their lives, be told the rub and then deliver it back to them as something completly new and informative about themselves.

Over time I have seen the similarities of the photos, the choices people make on the beach, at the wedding,a the party,the loved one, how so many lives both rich and poor essentially record the same basic set of memories, just in different places. In the secret old photos box of every individual is a treasure of forensic information of photographic history that I can pay attention to and transform in to a richer more informative story of the memories in your box.

Looking at how different pictures work together in the same frame, how that leads to virtual information being assed in the brain to make new information or truths led me to the Melanges series and other fine arts projects.

Melanges Series

In the Melanges Series I explored the ‘ghosts’ of lenticulars. The bit in between the pictures, the point where the images mix, to see if it delivered something new, something other than just a picture flipping one t'other. I wanted a series of images that interplayed with each other, lenticulars that created new pictures from the interactions of the original images.

In essence, to look at the point where pictures joined rather than where the pictures were seen alone. To deconstruct the individual images in a Dadaistic way, while allowing the lenticular process to reconstruct them into a new delivery, one that allows the process and the viewer together to construct new images with new ideas, meanings and emotions.

I played with pictures of people, with symbols and with abstract images to try out all options and I ended up with a series of Lenticulars which delivered unexpected treats at every point where 3 or 4 pictures mix together from any position through an 18 picture melange, each bit of meaning, shape and colour adding together to create a fleeting unique construction with its own emotions, colours, shapes and narrative.

This changed the experience of looking at a lenticular. Before you would walk past quickly and see one picture change to another. With the Melanges you have to walk very slowly and watch carefully all the time as these multiple narratives and visual treats display themselves one after another in a continuously changing performance.

In the piece Hearts And Minds, the images deconstruct and reconstruct themselves differently depending on which direction you walk past, in which order you arrive at the information. In this piece walking left to right gives you one narrative but reverse the process and you read a different narrative and reach a different conclusion. The presented dichotomy can only be sloved by considering your own opinion and positioning yourself on the spectrum somewhere between one or the other. Adding the sybols together randomly to make your story.

 

Portraits

I have done many portraits for many different people and companies. In reality they are a bit like Bayuex Tapestries. I use mostly existing photographs, long hidden away in drawers and not looked at, but which remain an important part of the psychological make up of the people, families or companies that are the subject. By scanning and computer manipulating them I put order and chronology to them as well as colour, quality, interest, and restoration.

Displayed in a variety of styles the story portraits provide the subject with an invaluable visual link to their past and their context within their world, whilst adding an historical document to their possession and providing colour and fun to their interior.