大卫斯普里格斯
הדוד ספריגס
Дэвид Сприггс

Stratachrome

source: highlike

Work: David Spriggs Stratachrome 2010 1524 x 366 x 213 cm / 600 X 144 X 84 inches Chroma Key Green acrylic paint on 400 layers of hanging transparent film. T- bars, springs, lighting. Installed at Galerie de l’UQAM, Montreal, Quebec, Canada. The work of David Spriggs lies in a space between the 2 and 3 dimensions. He explores the representation and strategies of power, the symbolic meanings of colour, movement, and the thresholds of form and perception. The subjects depicted in his work specifically relate to the breakdown and recreation of form and volume – as seen through his interest in cyclones, explosions, and forces. His installations use a technique he developed in 1999 using multiple painted layered images in space to create unique 3D ephemeral like forms.

David Spriggs is currently is based in Montreal. He was born in 1978 in Manchester, England, and immigrated to Canada in 1992. He received his Master of Fine Arts from Concordia University, Montreal, and his Bachelor of Fine Arts from Emily Carr University in Vancouver. He undertook student residencies at Central St. Martin’s College of Art in London, England (1999) and the Bauhaus University in Weimar, Germany (2006). He has recently exhibited work at the Prague Biennial 5, the Louis Vuitton Gallery in Macau, and at the Sharjah Biennal 9 in the UAE. Spriggs’ exhibitions in Canada include shows at Galerie de l’UQAM, the Southern Alberta Art Gallery and Rodman Hall Arts Centre. His work is in the permanent collections of the Montreal Museum of Fine Arts and the National Museum of Quebec.
Photographer: David Spriggs
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source: davidspriggs

STRATACHROME : THE SAGA OF GREEN
MARIE-EVE BEAUPRÉ

…Presented as if in suspended animation, the luminous installation offers a synthesized perception of the represented bodies and masses, referents of the contemporary power whose chromatic resonances belong to the military, artistic, social and technological spheres. The aim of Spriggs’ approach is to surprise reality in order to immobilize it, the better to identify the figures that govern the power. In this, his strategy is not unlike the anamorphic process: rather than creating a vanishing point for the viewer’s eye, he inverts the conventions of perspective so that the viewer becomes the vanishing point. The large scale favoured by the artist and the curved shape of the sections serve to flood the visitor’s gaze. The work occupies nearly the entire field of vision in the gallery, producing a cinematic effect in which the iconography reads like a montage composed so as to simultaneously fuse and confuse the information. This effect functions like our own perception of reality, which is most often shaped by a montage of temporalities produced by the new technologies that redefine our grasp of events. The Internet remains the principal symbol of this. Thus, even while making the viewer omniscient, the work testifies to the fact that an overabundance of images can also be blinding.

In this installation, the artist’s borrowed and created symbols and referents are painted in fluorescent acrylic on large sheets of transparent film. A camera of the sort used to film three-dimensional images, set on a tripod, is reproduced in each section, its slightly setback position emphasizing the idea that all of the images are part of a virtual universe. A reproduction of a soldier’s camouflage uniform is superimposed on the carcasses of two crash-damaged cars (some will see a reference to Andy Warhol’s 1963 Green Car Crash). In addition, a painted cloudy mass is clearly visible in the upper area. Enigmatic at first glance, it has large openings borrowed directly from Marcel Duchamp’s Large Glass (1915-1923). Executed on glass, implying transparency, this work, like Stratachrome, includes the viewer as subject behind the reproduced images. The resulting composite imagery is reminiscent of green-screen special effects. In the lower area of one of the sections, a nude model appears in pose. The source image is from a Dürer print illustrating a perspective drawing lesson, where the use of a grid helps the artist calculate the effects of perspective on the subject to be reproduced. This method of representing linear perspective is similar to those used by David Spriggs, but his invented assembly process enables him to transpose two-dimensional images in space. The stratachrome concept can thus be understood as a new form of three-dimensional representation…

Despite reproduced pornographic scenes in which the virtual body is exposed, viewers find themselves moved not by seduction but by fascination before this monumental installation, curious to dissect the images composing the whole. Each section refers to a different type of nudity, defined by the artist as pornography of the body and pornography of war. This concept refers, in particular, to ideas on the media space devoted to pornographic images developed by Jean Baudrillard.7 The effect of body and object virtualization derives from the use of both anamorphosis – image distortion produced by means of an optical system – and perspective, with a paint gun used to depict the organic elements and the technological elements rendered with a brush. The installation’s iconography transposes the theatre of operations of a conceptual war between various symbols of contemporary power and, in so doing, questions the imagemaking process. The battlefield aesthetic produces images with the potential to become promotional media missiles, especially the image of total control that suggests masked prisoners, seen in the corner of one section. The surfeit of images that makes certainparts of the installation illegible can be interpreted as a form of self-censorship; this allows the work to point up the false transparency of visual information and raise the issue of media policies in present-day wars. In today’s world, most combat is virtual, as in the new drone-based military strategies and wars waged by cyber-pirates. Present-day war is fought less between individuals than between symbols that we experience through the media, hence virtually. These new possibilities inevitably lead to the loss of direct experience and make it almost impossible to detect the substitution. With the interpenetration, overlapping and superimposition of form and content comes a definitive loss of meaning. The spatial ambiguity perceptible in David Spriggs’ installation follows from this erosion of the boundary between real and virtual.
“The history of battle is primarily the history of radically changing fields of perception. In other words war
consists not so much in scoring territorial, economic or other material victories as in appropriating the
“immateriality” of perceptual fields.” Paul Virilio, War and Cinema: The Logistics of Perception (London: Verso,
1989), p. 10.

Marie-eve Beaupré is working towards a PhD in art history, with a focus on Canadian monochrome painting, under the direction of Thérèse St-Gelais (uqam) and Jacinto Lageira (Paris 1 Panthéon-Sorbonne). As a curator, she has organized exhibitions at the Musée national des beaux-arts du Québec (Stéphane La Rue. Retracer la peinture, in
collaboration with Louise Déry), the Musée d’art de Joliette (François Lacasse. Les déversements), the Musée régional de Rimouski (Les Perméables) and the Galerie de l’uqam (David Spriggs. Stratachrome, Stéphane La Rue. Retracer la peinture and Libre échange). Her responsibilities at the Galerie de l’uqam over the past five years have included working on the Canadian Pavilion exhibition for the 2007 Venice Biennale and coordinating the Wim Delvoye project Cloaca No. 5, in 2009. In addition to publishing essays and articles, she is broadening her research on Quebec art by inventorying artist studios.
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source: designisthis

British artist David Spriggs creates stunning three dimensional art installations that lie in a space between 2 and 3 dimensions. These unique artworks overwhelm the viewer, by bringing together painting, drawing, photography, digital-modeling, and sculpture, to create a spatial topographic system

Spriggs’ artworks are made with superimposed layers of thin translucent film enclosed in Plexiglas, a technique he developed in 1999. The goal was to create the illusion of a three-dimensional landscape by using two dimensional elements, he has been exploring and perfecting this technique ever since. By giving his works a carefully crafted dynamic dimension, David Spriggs plays with the usual conventions of artistic representation in a clever way, he instills his works movement, combined with a sense of discovery as the images slowly “reveal” themselves to the viewer.

In order to compose his amazing art installations, initially Spriggs airbrushes two-dimensional images onto multiple sheets of transparent film, then the transparent films are positioned together, one in front of the other, to form a three dimensional object. The exhibited form is defined by the horizontal cuts and changes form depending on the viewing angle, essentially dismantling itself and coming together again in an act of cinematic play. His amorphous objects have the appearance of being suspended, contained and locked in a frozen moment, where time becomes a stratified cartography. The forms are illuminated and encased in museological terrariums (like scientific controlled experiments) becoming “alienated from their surroundings and open to observation and interpretation”.

These spectacular installation based artworks are in constant vacillation between the worlds of 2D and 3D, exploring the use of three-dimensional space in an innovative, unexpected and almost scientific way. His thick, deep frames invite you to get lost within their painted folds, layering images on top of each other to create an impossible depth. The subjects depicted in his work relate to the breakdown and recreation of form and volume, and to complicated and multidimensional terms, such as “power”, “vision” and “perception”. These complex meanings are resented visually by forces, such as cyclone, explosions and clouds.

David Spriggs is currently based in Montreal. He was born in 1978 in Manchester, England, and immigrated to Canada in 1992. He received his Master of Fine Arts from Concordia University, Montreal, and his Bachelor of Fine Arts from Emily Carr University in Vancouver. He recently participated in the Public Art and New Artistic Strategies program at the Bauhaus University in Weimar, Germany and has exhibited his work in New York, Toronto, London, Calgary, Vancouver and Germany.
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source: 13doorsru

Дэвид Сприггс (David Spriggs) – один из тех, кто сделал сказку былью.
Когда в нашу жизнь широко вошла индустрия 3D-кино, никто и думать не мог, что тут же появится возможность смотреть на прежде плоские двухмерные изображения без специальных очков, а просто обходя объект вокруг. Но художники – народ непредсказуемый. Их творческое воображение, вдохновлённое новыми технологиями, породило то, что теперь принято называть 3D-картинами.

Один из последователей изобретения Xia Xiaowan, Дэвид Сприггс не только достиг совершенства прообразов – 3D-картин китайского художника, но и внёс в технологию их изготовления свои нововведения, усовершенствовав и добавив космичности и одухотворённости изображениям.

В отличие от стеклянных панелей, которые использует в своих работах Xia Xiaowan, Дэвид решил пойти своим путём и наносит рисунок на тонкие пластиковые листы. Эти рисунки он соединяет вместе достаточно плотно, почти не оставляя зазоров, что придаёт его 3D-картинам вид монолитного изображения, словно впаянного в большой кусок полупрозрачного камня.

Основная тематика таких 3D-картин – космос, вселенная, духовное возрождение. Мириады звёзд, на огромной скорости проносящихся по бесконечному космическому пространству, и то, словно летящих на зрителя, вовлекая того в свой искрящийся поток, то причудливыми спиралями завихряющиеся на расстоянии, словно изящная кошка позирует, поглядывая холодным взором на того, кто, зачарованный этой красотой, замер в восхищении.

Но есть и такие изображения, которые заставляют всматриваться не от того, что те завораживают своей красотой. Нечто скорее пугающее своей неестественностью, размытостью и едва угадываемыми человеческими контурами повисает в пространстве аморфной массой и, кажется, постоянно движется, вновь и вновь меняя очертания.

Акриловые краски, которыми пользуется художник, нанося их на каждый слой пластика сообразно эскизам, в которых продумано с доскональностью положение каждого слоя в пространстве и его сочетание со всей композицией в целом, создают невероятные фантастические картины, перед которыми замирает сердце. Они дают почву для размышлений, уводя в фантазии и пробирая до самой глубины души, словно кусочек космоса выхвачен ловкой рукой художника, заключён в пластиковый контейнер снов и подарен вот так просто – каждому.
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source: pichaus

Dans le même esprit que son travail 3D Painting on Glass, voici une sélection des oeuvres les plus impressionnantes par l’artiste anglais David Spriggs. Il parvient à faire rentrer les spectateurs dans son univers jouant à merveille avec la peinture, le verre et les éléments.
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source: sanatblog

Farklı araçlar kullanarak resim sanatını 3 boyuta taşıyan sanatçılar algılarımızla oynamaya devam ediyor. Daha önce tuvalden taşan 3D tablolara ve sadece bir açıdan görülebilen 3D portrelere yer vermiştik. Bu sefer de cam levhalar üzerine yapılan çizimlerin gerçeküstü dünyasına davet ediyoruz sizleri.