Bowl | 1

China Research | Bowl 1


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From photographs of models (Ian and Matt) taking poses inspired by Odalisques in paintings (Velasquez, Goya and Manet), complex photoshopped montages were created, altering the original images significantly, adding and removing information, quite obviously, on purpose.

Bowl | 2

China Research | Bowl 2


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A virtual bowl was created over which the further digitally distorted and morphed image was projected, so that a portion of it found itself inside the bowl (the concave space), and outside the bowl (its convex aspect), simultaneously. A photographic paper print, seen here, was made of the result. One of the intents of this work consist in creating a continuous image visually that is nonetheless split in two physically, half inside and half outside the bowl, to stress the form/surface, image/object dichotomy specific to the pictorial space of ceramics and to contest the flatness of the image as experienced over the form of the bowl.

Bowl | 3

China Research | Bowl 3


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This digital photo print was brought to Jingdezhen, China and given to an expert painter to be actually hand- painted over a custom-made porcelain bowl, half inside , half outside the object.

Bowl | 4

China Research | Bowl 4


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All three Odalisques were also painted, either as a continuous yet framed image all around a large globular vase or as three circular, distorted views, reinforcing the photographic source created with a lens and the parallax distortion, exaggerated digitally, caused by the form of the vase.

Bowl | 5


China Research | Bowl 5


view of interior of bowl.


View of exterior of bowl

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Bowl | 6


China Research | Bowl 6


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view of bowl from privileged viewpoint which connects interior (concave) and exterior (convex) aspects creating a continuous image.

Bowl | 7

China Research | Bowl 7


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The same photographic material can also be used to produce digitally printed ceramic decals that are transferred to similar porcelain blanks and fired to their surface. This changes the aesthetic as well as conceptual intent, from a painted image to a true photographic depiction, by retaining to a higher degree the photographic nature of the source material, while transferring it to another archival context, that of ceramics, which is more permanent.

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