A series of graphic works, studies and new paintings created since 2012. Une série d’oeuvres graphiques, d’études et de nouvelles peintures conçues depuis 2012. 

trans•mu•ta•tion (ˌtræns myuˈteɪ ʃən, ˌtrænz-) n.
1. the act or process of transmuting.
2. the fact or state of being transmuted.
3. the transformation of one species into another.
4. any process in which a nuclide is transformed into a different nuclide, usu. one of a different element.
5. (in alchemy) the conversion of base metals into metals of greater value, esp. into gold or silver.

Two-fold sources:

1) From scenes I previously conceived  using Softimage XSI in 3D, then rendered out using Softimage Rendermap. The resulting images were then modified and re-worked in various 2D apps, using an array of filters. So, the concept of transformation and mutation (i.e. ‘Transmutation’) from one medium to another is prevalent.  The final phase though,  is in transposing these 3D-2D image results into paintings. Curiously, the initial 3D work involved the use of scanned and modified photos used in the creation of surface texture maps, then mapped to 3D objects (themselves transformed and deformed) with the end result of  ‘unwrapping’, as it were, the objects’ surfaces in a 2D render-mapped result (bitmap).

2) From appropriated imagery primarily stemming from Renaissance painting reproductions (but not limited to) (scanned or d-loaded from the web). Again, these reproductions are modified and reworked in various 2D apps, then used as visual templates for the actual creation of the paintings.

The interesting aspect of high Renaissance graphics, is the obvious technical use (discovery) and notion of perspective and the use of optics (refer to David Hockney’s books on this subject). I’m not so much interested in the classic (antiquities) revival and religious subject-matter, but more the technological innovation one. These original works and masterpieces are then transformed and thus become unrecognizable (i.e. ‘transmuted’) in the process: the notion of perspective is lost or obliterated, transformed using tools evolved from ubiquitous contemporary image-making technology – that of computer generated imagery and FX. The irony lies in the fact that all these high-tech 3D-2D tools are used in the making of a very ancient image medium: painting.

Pierre Duranleau – July 2015

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