FUTURE PRE-PURPOSED 2004
Familiar and futuristic, the architectural interiors and female figures of "Future Pre-Purposed" do not exist. The photographs, constructed from drawings, wax structures, and a variety of computer techniques, only appear to capture authentic spaces and characters. They're actually composites that draw upon religious, utopian, and secular places, as well as different races, age, and genders. Are we in the past, present, or future? Based on montage, the artworks are puzzle parts reconstituted as "real fictions."
"People construct reality. Yet reality folds back and constructs what it means to be a person. "Future Pre-Purposed— A Constructed Utopia" explores this intertwined circular process of perceiving, defining, and constructing reality and us. By fabricating "real" lived places, the images tease out how social space is produced and experienced. These are photographs of no-where, no-time, and no-body. By looking at this virtual no-where, we are forced to look back upon our own world anew and see how we can re-infuse it with mystery and meaning."
Familiar and futuristic, the architectural interiors and female figures of "Future Pre-Purposed" do not exist. The photographs, constructed from drawings, wax structures, and a variety of computer techniques, only appear to capture authentic spaces and characters. They're actually composites that draw upon religious, utopian, and secular places, as well as different races, age, and genders. Are we in the past, present, or future? Based on montage, the artworks are puzzle parts reconstituted as "real fictions."
"People construct reality. Yet reality folds back and constructs what it means to be a person. "Future Pre-Purposed— A Constructed Utopia" explores this intertwined circular process of perceiving, defining, and constructing reality and us. By fabricating "real" lived places, the images tease out how social space is produced and experienced. These are photographs of no-where, no-time, and no-body. By looking at this virtual no-where, we are forced to look back upon our own world anew and see how we can re-infuse it with mystery and meaning."
Familiar and futuristic, the architectural interiors and female figures of "Future Pre-Purposed" do not exist. The photographs, constructed from drawings, wax structures, and a variety of computer techniques, only appear to capture authentic spaces and characters. They're actually composites that draw upon religious, utopian, and secular places, as well as different races, age, and genders. Are we in the past, present, or future? Based on montage, the artworks are puzzle parts reconstituted as "real fictions."
"People construct reality. Yet reality folds back and constructs what it means to be a person. "Future Pre-Purposed— A Constructed Utopia" explores this intertwined circular process of perceiving, defining, and constructing reality and us. By fabricating "real" lived places, the images tease out how social space is produced and experienced. These are photographs of no-where, no-time, and no-body. By looking at this virtual no-where, we are forced to look back upon our own world anew and see how we can re-infuse it with mystery and meaning."
Familiar and futuristic, the architectural interiors and female figures of "Future Pre-Purposed" do not exist. The photographs, constructed from drawings, wax structures, and a variety of computer techniques, only appear to capture authentic spaces and characters. They're actually composites that draw upon religious, utopian, and secular places, as well as different races, age, and genders. Are we in the past, present, or future? Based on montage, the artworks are puzzle parts reconstituted as "real fictions."
"People construct reality. Yet reality folds back and constructs what it means to be a person. "Future Pre-Purposed— A Constructed Utopia" explores this intertwined circular process of perceiving, defining, and constructing reality and us. By fabricating "real" lived places, the images tease out how social space is produced and experienced. These are photographs of no-where, no-time, and no-body. By looking at this virtual no-where, we are forced to look back upon our own world anew and see how we can re-infuse it with mystery and meaning."
Development
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Beneath the surface of what simply appears to be photographic realism, Cottingham uses anatomical drawings, wax, digital painting, and montage to explore where the body (race, gender age) and the mind (one's sense of self) collide. As identity and perception are called into question, the images do not pulse with humanity and life force. Instead, they radiate a sterile and silent modern aura that embodies a subtle, somewhat horrifying beauty.
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Beneath the surface of what simply appears to be photographic realism, Cottingham uses anatomical drawings, wax, digital painting, and montage to explore where the body (race, gender age) and the mind (one's sense of self) collide. As identity and perception are called into question, the images do not pulse with humanity and life force. Instead, they radiate a sterile and silent modern aura that embodies a subtle, somewhat horrifying beauty.
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It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference.
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It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference.
Influences
From the inception of photography in the early 19th century, several photographers have experimented with photographic fiction. From the inception of photography in the early 19th century, several photographers have experimented with photographic fiction.
Hippolyte Bayard (1801–1887): Known for his early experimentation with direct positive processes and his staged self-portrait titled Self Portrait as a Drowned Man (1840), which is considered one of the first examples of photographic fiction.
Lewis Carrol (1801–1887): Known for his early experimentation with direct positive processes and his staged self-portrait titled Self Portrait as a Drowned Man (1840), which is considered one of the first examples of photographic fiction. Robinson seamlessly combined five separate negatives to produce this intimate narrative of family tragedy.
Nancy Burson (1801–1887): Known for his early experimentation with direct positive processes and his staged self-portrait titled Self Portrait as a Drowned Man (1840), which is considered one of the first examples of photographic fiction. Robinson seamlessly combined five separate negatives to produce this intimate narrative of family tragedy.
Cindy Sherman (1801–1887): Known for his early experimentation with direct positive processes and his staged self-portrait titled Self Portrait as a Drowned Man (1840), which is considered one of the first examples of photographic fiction.
Kathleen James-Chakraborty (1801–1887): Known for his early experimentation with direct positive processes and his staged self-portrait titled Self Portrait as a Drowned Man (1840), which is considered one of the first examples of photographic fiction. Robinson seamlessly combined five separate negatives to produce this intimate narrative of family tragedy.
Featured Articles
“Emily Fisher Landau Collection”
Whitney. Yale.
“A Look into the Genetic Future”
Christopher Knight. The Los Angeles Times, August 8, 2003, p. E24.
“A Look into the Genetic Future”
Christopher Knight. The Los Angeles Times, August 8, 2003, p. E24.