The Photo Blow Ups
The ability to enlarge the vector drawings raised an interesting thought about the usage of language. Some refer to the process of enlarging a photograph as blowing it up. A literal play on the word blow up and enlargement led to this new way of working.
A further exploration of his admiration of the characteristics in vector drawings set the path for the execution of a new series. Vectors are smooth perfect shapes that can actually be converted to an arithmetical equation or algorithm. This meant stylistically to re-work older projects and to break them down into mere lines in multiple colors.
The colors were sampled and stored into a custom palette to be chosen from. This differed from the ongoing color palette because it includes such a multitude of colors. In actuality it was still very similar because he chose to re-work finished projects that had been created in a monochromatic way.
Here it must be stated the difference between a monochromatic work and a work generated from a single color. A red tinted photograph from a black and white negative has an enormous range from the lightest of pinks to the darkest of maroons. It is this range that was color sampled out of the photograph and into the new color palette for drawing.
Layer upon layer of thinly drawn lines rebuilt the image. Once the image attained a degree of representation the drawing was rescaled 'BLOWN-UP' causing the lines to drift apart in proportion to the percentage of scaling. This caused lines, which at one time overlapped each other, to find a new undisturbed place on the canvas. The once carefully drawn and recognizable image was now reduced to a series of unrelated lines. Therefore a state of blown up actually looked like the photograph hed exploded.
The intention and results cannot be compared. The intention was the process. Using pre-existing images served only as a starting point. The results were unanticipated and dependent upon the process and not a preconception.
"I found it interesting to known that the image looked like nothing but lines although based on something I had already photographed. It is an expressive gesture, in a way I blew up my photographs…literally! If the viewer could only condense the image in his mind he would re-create a perfect rendering of some object or place." Interjects Renier.
 
 
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