Nathalie REGARD, Big Scanning
Deconstructing, enlarging and expanding time, between the brushes
and the canvas, the project Big Scanning opens a space to the viewer in the
environment of the production of a large painting. Big Scanning
consisting of 3 works : a monumental size painting, a video-animation
from webcams images and an artist book publication rebuilding the
painting in its real size.
1.« Void Painting» (500 x 800 cm) Oil on canvas
It?s starting point being a digital photograph, the process consisted of the transferral of the integrity of an enormous empty space of an industrial architectural type. The rupture of scale from a miniature digital image (jpeg format) to its transferral to a monumental size, took over a year and seemed to disturb essential aspects in reference to its nature because of the way it is structured (colored data). Pointillism plays with the threshold of visual perception dematerializing the illusion in order to propose a synthetic representational code as a substitute. To systematize the process I used a metallic grid, highlighting systems, series and dialogues. The process took a year to make the illusion of the image fade, elaborating the ?trompe oeil?, and embedding an instant present, somewhere in the infinite space of pixels, constitutive of digital images. This tension, around the eternal fight between order and chaos to reach this realization lends to a sense of irrecoverable loss and absence, all too human in shape and form. The resulting proposition of an immersive (and obsessive) image is increased by the fact that this grotesque empty space is devoid of any presence and the adjacent idea of an oneiric symptom. This conduces the viewers displacement to the condensation of vast quantities of coloured data and the sedimentation of the illusion of an empty space with its perspectives.
2.« Double Vide» Video Animation, Glasgow (1h 15? approx.)
The video is a (recorded) reconstruction of the space of the studio over a year. By installing webcams, systematically programmed to take images every 30 minutes, during the period of the production of the painting « Void », it offered the option to record the process of the unfinished work.
In the manner of a diary, «Double Vide» is the record of that private space. The formal composition reconstructs in essence the unique space of the studio in a tri-dimensional model object, gathering the entirety of the recovered files.
3.« 1< 250?000» Artist Book Publication; 500 copies (350 color plates)
Is an independent publication containing the large painting « Void » in its real size.
The design offers the option to rebuild the painting, by displaying the sheets without sacrificing the monumental size expanding the intrinsic limits of a large format work. In the publication there is a guide and the pages are appropriately indicated and pre-cut in order to detach the sheets and easily rebuild the image. This allows the transformation of the book into a billboard, which re-composes the entire painting in 350 sections.
The title : «1 to 250?000» suggests the brutal rupture of scale from a digital image gathered from the web, to a 8 meters long painting, extending the perceptive experience to the observer opening the pictorial process of representation.
The book does not suppress or replace the essence of the unique object but questions and critiques the visibility of the painting, the space of the museum, the art market and the transportation of a monumental work. The owner of one of these books has the option to create a new context for it becoming a co-author. Through its autonomous nature the book allows the fulfillment of ephemeral events inside spaces devoted to art, or in other appropriate spaces for a dialogue of the work within urban public spaces.
More information, please visit: http://www.nathalieregard.net
1.« Void Painting» (500 x 800 cm) Oil on canvas
It?s starting point being a digital photograph, the process consisted of the transferral of the integrity of an enormous empty space of an industrial architectural type. The rupture of scale from a miniature digital image (jpeg format) to its transferral to a monumental size, took over a year and seemed to disturb essential aspects in reference to its nature because of the way it is structured (colored data). Pointillism plays with the threshold of visual perception dematerializing the illusion in order to propose a synthetic representational code as a substitute. To systematize the process I used a metallic grid, highlighting systems, series and dialogues. The process took a year to make the illusion of the image fade, elaborating the ?trompe oeil?, and embedding an instant present, somewhere in the infinite space of pixels, constitutive of digital images. This tension, around the eternal fight between order and chaos to reach this realization lends to a sense of irrecoverable loss and absence, all too human in shape and form. The resulting proposition of an immersive (and obsessive) image is increased by the fact that this grotesque empty space is devoid of any presence and the adjacent idea of an oneiric symptom. This conduces the viewers displacement to the condensation of vast quantities of coloured data and the sedimentation of the illusion of an empty space with its perspectives.
2.« Double Vide» Video Animation, Glasgow (1h 15? approx.)
The video is a (recorded) reconstruction of the space of the studio over a year. By installing webcams, systematically programmed to take images every 30 minutes, during the period of the production of the painting « Void », it offered the option to record the process of the unfinished work.
In the manner of a diary, «Double Vide» is the record of that private space. The formal composition reconstructs in essence the unique space of the studio in a tri-dimensional model object, gathering the entirety of the recovered files.
3.« 1< 250?000» Artist Book Publication; 500 copies (350 color plates)
Is an independent publication containing the large painting « Void » in its real size.
The design offers the option to rebuild the painting, by displaying the sheets without sacrificing the monumental size expanding the intrinsic limits of a large format work. In the publication there is a guide and the pages are appropriately indicated and pre-cut in order to detach the sheets and easily rebuild the image. This allows the transformation of the book into a billboard, which re-composes the entire painting in 350 sections.
The title : «1 to 250?000» suggests the brutal rupture of scale from a digital image gathered from the web, to a 8 meters long painting, extending the perceptive experience to the observer opening the pictorial process of representation.
The book does not suppress or replace the essence of the unique object but questions and critiques the visibility of the painting, the space of the museum, the art market and the transportation of a monumental work. The owner of one of these books has the option to create a new context for it becoming a co-author. Through its autonomous nature the book allows the fulfillment of ephemeral events inside spaces devoted to art, or in other appropriate spaces for a dialogue of the work within urban public spaces.
More information, please visit: http://www.nathalieregard.net