An idea about people
I was inspired by some masterpieces of Pieter Bruegel and Hendrick Avercamp at the museums in Belgium and in the Netherlands. Pieter Bruegel and Hendrick Avercamp were artists, roughly 450 years ago. What I saw at the museum was about people. In the pictures, many people are on the ground.
At present, there are a lot of people from every country in London. If you walk the streets of London, jostling with the crowds is a daily occurrence and sometimes, you have to wait for a while in order to enter the underground. One of the things that cannot be performed in London is to walk alongside three people. People’s lives in this era seem to be similar to people’s lives in the past even after 450 years.
Every second is precious to me in London like every breath is important for us to be alive. It makes me feel alive and more enhanced. However, I cannot remember everything I experienced and everyone I met. We are losing our memory day by day.
Can you remember how many people there were?
How much memory do you have?
How much memory do other people have about you?
How many pixels do you have?
Is digital forever?
How about the Time factor in digital?
A particle of dust in the universe
A human is an extremely tiny particle of dust in comparison with the universe. Similarly, it means we could be just one pixel in a digital world. Of course, the size of dust depends on the standard of size. Likewise, the size of a pixel is not to be measured physically in digital. One pixel is just one datum. It is still one pixel, even if it has sizes like 5x5mm or 50cm x 50cm. It just appears larger to my eyes.
Then, how can I make one pixel in reality? In the beginning of the research period, I made a shark by using many 1cm square pieces per pixel, although these 1cm squares are one of the standardisations made by humans. After this, I have made something by using many 5mm square pieces. As for the pixel image, it needs minimum pixels to become distinguished. For instance, to distinguish an image of a person, a minimum of twenty pixels in height is needed for it to be recognised by the human eye. In addition, letters of the alphabet should be a minimum of five pixels in height.
Using this minimum number of pixels, the size of the work is not important to create this distinction. If that is the case, then what if I make a huge work with a minimum of pixels? What is the difference between a mosaic made by small pixels and a mosaic made by big pixels? Initially, I made the policeman with a lot of pixels to depict it in great detail. After that, I made a man by using a minimum of pixels whose shape can be distinguished by the human eye. When you observe that at close range, you cannot know for sure, like an abstract painting. On the other hand, you are able to distinguish clearly the shape of people at a distance.
Through this, I have tried to demonstrate the visualisation of faded memory. I have used pixels with low resolution in the eternal digital world to illustrate a faded memory as if the memory of the human in reality is getting more faded as time goes by. In other words, the more time goes on, the more memory fades away and becoming a faded memory is like having a low resolution in digital.
Such attempts made me develop to create a new representation. These works were such an ambiguous boundary whether it is an abstract print or representational print. This also demolished the restrictions on the size and the frame.
Anonymous without the background
I have tried to express these people as a mosaic. I had to make a decision with respect to the background in order to produce a mosaic work. Eventually, I chose a different way to prevent it being a typical mosaic art or pixel art. That was to erase the background.
This attempt was inspired from a film, called Dogville . I tried to represent people in the absence of a background such as actors acting as if there is a building, where there are not any buildings. Likewise, I was inspired by a picture which is about destroyed buildings by military conflict.
A giant’s-eye view
I have thought about bigger sizes of work. I have started to find some references about giants in art history. It dates back 250 years to the masterpiece of Goya.
While I looked for some reference, I have found that some works about giants are connected with my original prints. That is that my most of prints have a bird’s-eye view. Subconsciously, I seemed keen on an aerial view to make prints because this view of bird-watching makes me feel like I am a giant.
Sometimes, low resolution pictures in digital look like an old photo which had countless transformations. Basically, a digital picture is preserved forever in digital. However, the world and technique has been enhanced in a great deal of ways as time goes by.
I had a digital camera with a resolution of 100 megapixels approximately 10 years ago. But now, I have a DSLR with a 1800 megapixel resolution. An interesting aspect of this idea is that I have memories 10 years ago with 100 megapixel resolutions. That is why I think low resolution pictures of the digital camera look like old films.
I am able to express and capture my fading and old memories with pixels. This reflects that the unconscious mind of humans wants to capture the present time would be able to prove the reasons for the existence of the art.
Therefore, my basic of work could be feelings about enjoyable times, regret for forgotten people, and sorrow for faded memories.
Based on the idea above, this critical study confirms that my work is oriented towards humanity through memories about people and the simplification of the image with pixels. In addition, looking at my work objectively through this critical study, I hope that my works have the chance to move forward in a better direction.