This work ongoing. The Infinite Ikea project started as an absurd challenge for myself, I wanted to digitally draw every item on the Ikea website. The project evolved as I learned Adobe Flash and began animating every item. The animations have been placed back on the internet in an overwhelming, moving, webpage. The webpage is meant to scroll seemingly infinitely, my intent was to make viewers think about their internet usage as they navigate this page of ongoing activity with no real destination or outcome.
This series plays with the internet’s impact on our understanding of art, specifically photographic representations of paintings online which are infinitely reproduced at low resolution. The internet has changed our cultural understanding of art images because we no longer see the original art work, but instead base our understanding on internet reproductions. By creating digital recreations of well known paintings I am adding to the massive number of reproductions people use to study art online. Working with screen grabs I use modern technology to create these appropriated images. The use of multiple windows of solid colour to recreate each painting confuses the viewer’s understanding of the image, its production, and causes them to stay in the image longer.
This series explores and creates relationships between photographic history and digital culture. By working with archival photographs I was able to equate the long exposure times of early photographs to absurd image loading times in web browsers. By bringing these photographs into the digital realm they become infinitely reproducible in contrast to originals which are often single prints. This dialog between chemical photographic production and today’s fast digital image production and consumption is intended to generate thought about the ever evolving medium of photography.
This is an exploration of language and form. I created these simple drawings using stencils then pasting the stencils to the page in a manner that expressed the meaning of each word.
This project was an exploration of the physicality of historic photographic processes via old family slides. I found looking at the frames without the images and only vague handwritten descriptions and dates became more interesting than the images themselves. I wanted viewers to explore the physicality of the slide frames as objects while at the same time placing themselves inside the event the slide frame notes. I chose white rather than black to fill the space the slide would occupy to represent the screen or wall the images would be projects upon, thus allowing the viewer to project their own interpretation onto that space. The empty slides are printed large scale and hung on opposite walls of a hallway, this is intended to make the viewer an active participant within the narrative of the handwritten slide description, and prompt thoughts about the physicality of historic photographic processes.
© Georgia Grieve 2017.