Foto-assemblage

Abstract

PHOTO-ASSEMBLAGE consists on nomenclature to define the work that I have produced from the junction of digital photographs. The elaboration and justification of these works also represent the core of the research that resulted in this dissertation. In principle, the term photo-assemblage would refer to formal or technical issues this practice. However, research to develop some procedures ultimately determine certain nuances that reveal common aspects and also in their content. As a result of joining constructions artistic photographs since 2009, I came to the synthetic compositions presented here, constructed from two photographs. I suggested name photo-assemblage by observing the resulting images caveats that distinguish certain conventions attributed to the idea of photography. At the same time, these images would propose a possible unfolding to the understanding of assemblage as artistic technique. Although it is not a rule, photographs show images of times. In its relation to the human understanding of time and space, photographs almost always contain instances minimal. Photographs, however, can also be understood as a contraction of a course of time. Every photographic image can be assimilated as a result of certain events before and even seen as an element that generates future consequences. Following this understanding, what I propose with the photo-assemblage is that it deals with segments of time or space contained in the same picture. These photographs originating win a new award, being removed from their original context, serve as beacons of travel time or space and deleted subjectivizing between them. Poetically, events originating from the photographs would be contained in the images produced. The term assemblage to the arts was built as from 1953 by Jean Dubuffet to describe works that would be something more than simple collage. The idea of assemblage is based on the principle that any material or object drawn from our everyday world can be incorporated into a work of art, creating a new set without losing its original meaning. This object is torn from its habitual use and placed in a new context, weaving bonds of relationship with the other elements, constructing narratives in a new environment, the work. In view of photo-assemblage, however, is suggested use of photographic images as objects originating not they would be in an everyday world, but as the design image of what a mental entity . I adopt it as a magical sight where the images originate, basic, would be in another dimension, a two-dimensional plane, we can not be manipulated by the inhabitants of three-dimensionality. In this "environment" imaginary or not, pictures are settled consolidating photo-assemblage. When the photo-assemblage materializes, is embodied in media, being printed for contemplation there would then integrate our three-dimensional world. The result could be admitted as a hybrid, a third thing from two no longer dissociate more opportunity in an aesthetic understanding. In the concluding stages of dissertation, practical experiences that resulted in four sets of images in photo-assemblage. Each one emphasizing peculiar aspects of what I title "expanded landscape", reproducing images that contain paths of time, space or paths between the concrete world and unconscious worlds