Seeing the world in overlay

I’ve manipulated images in my head for as long as I can remember. Even as a child, I’d gaze and gaze, moving my head side to side, up and down, getting lines to cross and intersect, making colors blend and crash, creating shapes in space. I can only imagine what my parents must have thought as their little kid seemed to space out from the world when, in fact, I was really doing exactly the opposite: engaging with the world fully, taking delight in the immediacy and sensory thrill of color, line, and shape, trying not to miss anything. When recalling a time or place, it’s those sensations that fill my mind. It’s how I experience the here and now; it’s how I remember.

I’m intrigued about the direction I’m taking with the 2014 France images. Shooting series of stills, then returning to the studio to select, assemble, and blend together individual images into a final single image (…Berthica calls it an “overlay”) that feels closer to what I see in my head; the thing I remember as that “spaced out” kid. As I continue my work on the France images, I look for opportunities to explore the formal aspects of this overlay approach via experiments with current images.

Here are a couple of overlay exercises from our visit to NYC last month for a MOMA/Matisse, Guggenheim, Broadway whirlwind:

 

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35th Street & 8th Avenue, New York City     February 4, 2015

 

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37th Street & 9th Avenue, New York City     February 4, 2015

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