Study for Crystal Strata uses silver gelatin photogrammetry

Result #1

Study for Crystal Strata uses silver gelatin photogrammetry  to record the movements of a group of women walking across a floor of sand. The resulting film is an inscrutable yet poetic synthesis of two of the artists more traditional preoccupations: the history of photography and the history of women. In addition to the paintings, the show included a number of videos and a drawing of the three-dimensional female body, which, in the form of a photograph, is projected onto a wall and then cropped. This method of manipulation has been a favorite of the artists for some time, but here it became a metaphor for the artist herself, who is shown moving in front of a mirror, performing a kind of physical transformation.In a series of four short videos shown on screens arranged in a grid-like pattern, Szeemann is shown performing various movements, which range from the languid to the fierce, from the graceful to the aggressive. These videos capture her in various poses and gestures, all of which are composed in a similar way, but in which she is not the main actor. Her movements are reduced to a series of movements performed by a hand, a foot, or a hand placed next to a hand. In one video, Szeemanns hand is tied behind her back, her head is in the air, and she is placed in a chair, her eyes are closed. The implication here is that the hand and the chair are the same in every sense of the word. In another video, the hand is on her head, the chair is on the floor. Again, the body is reduced to the most basic of movements: the position of the chair and hand is reversed so that the chair is in front of the hand. Szeemanns hands are also tied behind her back, and the same holds are visible on the chair and the hand.

Result #2

Study for Crystal Strata uses silver gelatin photogrammetry  to record the crystalline structure of small rocks in a sand-filled basin. The images, taken by a range of methods, from photographic to photographic to filmic, are shown in various formats, in a sequence of slides that are projected at different angles on the wall. The images, which are projected in a variety of configurations, are of varied size and scale, and there are also several forms of models: spheres, cylinders, cylinders, and spheres. The images have been shot in an industrial setting, a sand basin, a desert, and in one case a building. The image is then printed in a variety of ways, on various kinds of paper, and then transferred to a variety of additional media. The image is then projected in various ways, in different configurations. The images have been shot in an industrial setting, in a desert, and in one case a building. The image is then printed in a variety of ways, on various kinds of paper, and then transferred to a variety of additional media. The image is then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations. The images are then projected in various ways, in different configurations.

Result #3

Study for Crystal Strata uses silver gelatin photogrammetry  to create a series of digitally rendered images of a crystal structure on a page of a magazine. The paper in the magazine was then spray painted in graphite on a wooden panel. The eponymous column of the piece, which is assembled from a rectangular wooden panel and a photogram of the crystal structure, was mounted on the wall in a manner reminiscent of an archway. This work is titled The Crystal Column and was installed at a slightly diagonal angle on the wall, with a short section of the wall bisected by the column at the top. The column is based on a model made of a wooden column with a square edge and a rectangular section cut into the bottom. The crystal structure is visible through the section of the model and the section of the model is visible through the section of the structure. The visual interest of the work is in the seemingly random patterns of the elements in the photograms, the randomness of the placement of elements within the photograms and their relationship to one another. The sense of randomness is emphasized by the fact that the photogram is not a copy of the real thing. The model is not reproduced as a photogram, and the photogram is not a copy of the real thing. The work is a kind of photogram of the real thing, and it is the real thing that the artist is interested in. The model is a pictorial representation of a piece of real space, a space that is reproduced in the photogram. The photogram is a pictorial representation of the representation of a piece of real space. The photogram is a pictorial representation of the representation of a piece of real space. The photogram is a pictorial representation of a photogram of the representation of a photogram. The photogram is a pictorial representation of the representation of a photogram. The photogram is a pictorial representation of the representation of a photogram.

Result #4

Study for Crystal Strata uses silver gelatin photogrammetry ƒ8 to capture the shadowy reflections of a marble statue. Its centerpiece is a big square mirror with a mirror inside. A white-gloved man in a suit and a tie walks in the opposite direction from the mirror. The reflection of his head, then, is reflected in the mirror. From a distance the scene looks like a photo-collage of street scenes. From a distance, though, the mirrors reflection is like a shotgun blast, a violent collision of two objects. The man walks in front of the mirror, and it shoots him, leaving the reflection on the floor. The shot, which is like a gunshot wound, is as brutal as it is random, like a murder. The man walks to another mirror, another image of the same man, who walks to another. The mirrors reflect a third man who walks to another mirror. The third man, now walking toward the third, shoots the first man. The third man walks to another mirror, this time looking like a shot itself. The third man walks to another one, which again reflects a third man, this time a shot. The third man walks toward the third, which again reflects a third man. The third man walks to another mirror. The third man walks toward the third, which again reflects a third man. The third man walks toward the third, which again reflects a third man. The third man walks toward the third, which again reflects a third man. The third man walks toward the third, which again reflects a third man. The third man walks to another mirror. The third man walks to another one, which reflects a third man. The third man walks toward the third, which again reflects a third man. The third man walks to another one, which reflects a third man. The third man walks to another one, which reflects a third man. The third man walks to another one, which reflects a third man. The third man walks to another one, which reflects a third man.

Result #5

Study for Crystal Strata uses silver gelatin photogrammetry  to create a mosaic-like image of a tree, which was then manipulated with a software program to create a geometric pattern of lines and stripes on the wall. The work is a kind of post-Minimalist scene of a tree in the desert. It is a visual account of the process of formation of a tree, and a commentary on the limits of the procedural logic of the camera.The point of view of the photographs is essentially that of the artist, who is seen from the front, standing on a tripod, in front of the camera. The angles are controlled so that the camera is at a distance from the subject and appears to be moving at a speed of its own. The subject is also filmed at a distance from the camera, so that the camera appears to be moving in a straight line across the landscape. The distance is marked by the distance of the landscape to the camera, and thus the subject is seen from a distance of a few feet. The camera is placed on the landscape, so that it is in a position of neutrality. A similar process is used in the production of the photographs. The camera is placed on a tripod, which is then placed in a position of neutrality. The camera is placed at a distance from the landscape, so that it is not a distant object. It is placed so that it is not affected by the landscape as a whole, and the landscape is made neutral. The camera is placed at a distance from the landscape that is not disturbed by it as a whole. The camera is placed so that it can be seen from a distance of a few feet. The distance is marked by the distance of the landscape to the camera, and thus the distance of the landscape to the camera is visible. The distance is also marked by the distance of the landscape to the camera, and thus the subject is seen from a distance of a few feet.