Analogue Photography Outing; The Door

This shoot is of a door from the salvage yard at Whitby. I conceived the idea originally to say something about the environment. That it is not us our selves, but the environment that shapes and defines us.

In the end the pictures said something about the passage of time, how we can go from one place to the next and close the door on the past as if it was never there.

I used a model for this shoot where originally, when I conceived the idea for shooting a door, I was only going to shoot an inanimate object, the door itself, as my main subject.

This formed part of the process as originally I had intended to work fully independent of anybody else.

It was very important to get a door with a frame attached to it. I was lucky. I set out to get one like that because I wanted to say something about how the environment shapes us, and if we change the environment, we change ourselves, I wanted to take the inside, out, to demonstrate this point.

These are multiple exposures shot on Ilford HP 400 black & White film, developed and printed with chemicals onto silver gelatine paper.

The old fashioned way is softer, you are not staring at hard edged pixels but the infinite analog production of film photography, although these images obviously are digital scans I wanted to use an analogue medium that reflected the infinite story of time.

https://www.flickr.com/photos/ikuo1/albums/72157652005729809

Door

Vicky going through The Door

Door Time Travel

Vicky through The Door

Model posing in Alphonse Mucha Studio 1902

Model posing in Mucha’s studio, Paris, 1902.

Black Swan

img126 on Flickr.

Ill Studio - Design Team

Founded in 2007, Ill-Studio is a multidisciplinary platform based in Paris. Headed by Léonard Vernhet and Thomas Subreville, it also brings together Nicolas Malinowsky, Thierry Audurand, Pierre Dixsaut and Sebastien Michelini.

The studio evolves in various creative areas such as art-direction, graphic design, photography, typography, video for both personal or commissioned works.

So far, Ill-Studio has collaborated with various clients such as Nike, Supreme NYC, The New York Times Magazine, colette, Cire Trudon, L'Officiel, Lanvin, Orange, Christophe Lemaire, Modular Records, Louis Vuitton, Adidas, Uniqlo, and Domus magazine to name a few.

Now I know what you're thinking...

Now, I know what you are thinking. It looks like he is a worker putting down the lines for the winter olympics curling team.



But this is the work of Gene Davis. He was a sports writer before he began to paint lines. You know it makes sense.

Davis was born in Washington D.C. in 1920 and spent nearly all his life there. Before he began to paint in 1949, he worked as a sportswriter, covering the Washington Redskins and other local teams. Working as a journalist in the late 1940s, he covered the Roosevelt and Truman presidential administrations, and was often President Truman's partner for poker games.

Davis's first solo exhibition of drawings was at the Dupont Theater Gallery in 1952, and his first exhibition of paintings was at Catholic University in 1953. A decade later he participated in the "Washington Color Painters" exhibit at the Washington Gallery of Modern Art in Washington, DC, which traveled to other venues around the US, and launched the recognition of the Washington Color School as a regional movement in which Davis was a central figure. The Washington painters were among the most prominent of the mid-century color field painters. Though he worked in a variety of media and styles, including ink, oil, acrylic, video, and collage, Davis is best known by far for his acrylic paintings (mostly on canvas) of colorful vertical stripes, which he began to paint in 1958. The paintings typically repeat particular colors to create a sense of rhythm and repetition with variations. One of the best-known of his paintings, "Black Grey Beat" (1964), owned by the Smithsonian American Art Museum reinforces these musical comparisons in its title. The pairs of alternating black and grey stripes are repeated across the canvas, and recognizable even as other colors are substituted for black and grey, and returned to even as the repetition of dark and light pairs is here and there broken by sharply contrasting colors

Franklin's Footpath
In 1972 Davis created Franklin's Footpath, which was at the time the world's largest artwork, by painting colorful stripes on the street in front of the Philadelphia Museum of Art, and the world's largest painting, Niagara (43,680 square feet), in a parking lot in Lewiston, NY. His "micro-paintings", at the other extreme, were as small as 3/8 of an inch square.

For a public work in a different medium altogether, he designed the color patterns of the "Solar Wall," a set of tubes filled with dyed water and backlit by fluorescent lights, at the Muscarelle Museum of Art at the College of William and Mary in Williamsburg, Virginia

Davis began teaching in 1966 at the Corcoran School of Art, where he became a permanent member of the faculty. His works are in the collections of, among others, the Corcoran Gallery of Art, the Solomon R. Guggenheim Museum, The Phillips Collection in Washington, DC, the Walker Art Center in Minneapolis, MN, and the Smithsonian American Art Museum.

He died on April 6, 1985 in his hometown of Washington, DC.