Does tracing the past creative trajectory lead to a smarter present in-studio-process?
I started working with cherry blossom trees for the liao collection space. I was transfixed with the location of the space and what was viewable through the windows. The former railroad trestle had an ominous landscape. Butchered tree trucks stood on the edges of the trestle, looking over N. 11th street. I wanted to imagine the dead cherry trees as furtile and glowing. The imagined trees were composited from various web image searches. The final tree branch and blossom images were large in scale, shifting perspective of the viewer to that of a child's point of view. The image was printed in sections (as a grid) onto smokey transparency film. This film was adhered to two large windows (20'x 15' each) so that the view of blunted trees was obscurred. The blossoms radiated light during the day and at night the street lights forced the film to transparency.
No, actually, before that I started with the individual flower....with the movable horizon similiar to cartoon backgrounds, that
animate the stage of the scene. The movement I was attempting was to show long distance and monotony. The flowers I was working on were designed to be on the side of this moving horizon. The flowers were plucked by me on video ( and then composited in after effects to eliminate my body ). The flowers were static inthat they were not going to travel left to right but they were active in that they were movable.
