Through The Looking Glass 2016
THE MEDIUM OF A FRIENDSHIP
We have been friends since the 20th Century, when phones were tied to the wall. Technology is re-writing the way we interact. Before, people used their phones to ask "how are you?" now the question is "where are you?". Everybody takes pictures with something called a "phone" and as artists we find ourselves exploring the expressive potential in the message of a photograph. What can we say in an image when it is served as a text message? What gets communicated? There are efficiencies, and quandaries and room for poetic license. A picture is worth a thousand words, right?
We have been friends since the 20th Century, when phones were tied to the wall. Technology is re-writing the way we interact. Before, people used their phones to ask "how are you?" now the question is "where are you?". Everybody takes pictures with something called a "phone" and as artists we find ourselves exploring the expressive potential in the message of a photograph. What can we say in an image when it is served as a text message? What gets communicated? There are efficiencies, and quandaries and room for poetic license. A picture is worth a thousand words, right?
No Dial Tone 2015
PICS WITH FRIENDS
We began using pictures instead of text in our messages, combining hints about both the where-are-you but also how-are-you. They volley back and forth like passing notes in school, sometimes the quicker the better. But what emerges is a game that has us making up the rules as we go along. Part Scrabble, part Charades, the way we talk in pictures is still evolving.
We began using pictures instead of text in our messages, combining hints about both the where-are-you but also how-are-you. They volley back and forth like passing notes in school, sometimes the quicker the better. But what emerges is a game that has us making up the rules as we go along. Part Scrabble, part Charades, the way we talk in pictures is still evolving.
Tower for Tower 2016
SIMULTANEITY
On some days WTIP has the intensity of a tennis game. To get an image and be moved by it is to want to fire one back. The Tour Eiffel from a rainswept taxicab was like a beautiful dare: returning the serve involved jogging over to to Copley Square, not only to get the Hancock Tower, but framed horizontally and with obstructions. Here we see one of the main conventions of paired side-by-side images: the right one is often the punch line.
On some days WTIP has the intensity of a tennis game. To get an image and be moved by it is to want to fire one back. The Tour Eiffel from a rainswept taxicab was like a beautiful dare: returning the serve involved jogging over to to Copley Square, not only to get the Hancock Tower, but framed horizontally and with obstructions. Here we see one of the main conventions of paired side-by-side images: the right one is often the punch line.
The Day After 2016
HE SAID SHE SAID
Recently, we had the experience of voting in a Presidential election where our candidate did not win. Somehow we made it to our homes late on election night. Liz's first light coming from the lady lamp by her bed met Rich's morning journaling in front of a happy light. The visual conversation conveys the mood.
Recently, we had the experience of voting in a Presidential election where our candidate did not win. Somehow we made it to our homes late on election night. Liz's first light coming from the lady lamp by her bed met Rich's morning journaling in front of a happy light. The visual conversation conveys the mood.
Lights in the Sky 2016
GRAMMAR
Scrabble with no rules is actually really difficult to play. We get together for marathon "picture pairings" and we comb our phones and hard drives for images that belong together in conversation -- because of what they say together. We know it when we see it, and sometimes the title fastens them together -- a notation of the "why" of it.
Scrabble with no rules is actually really difficult to play. We get together for marathon "picture pairings" and we comb our phones and hard drives for images that belong together in conversation -- because of what they say together. We know it when we see it, and sometimes the title fastens them together -- a notation of the "why" of it.
Fences 2017
RORSCHACH-Y
Like the unfolding ink blot test, there we are challenged to complete the picture for one another. The color, lighting, shapes, and focus are the basic compositional tools. In that way our game can be very much like target practice. As mid-career arts professionals, we are using our mobile devices with increasing proficiency for sure, but the conversational nature of the game sharpens our points of view.
Like the unfolding ink blot test, there we are challenged to complete the picture for one another. The color, lighting, shapes, and focus are the basic compositional tools. In that way our game can be very much like target practice. As mid-career arts professionals, we are using our mobile devices with increasing proficiency for sure, but the conversational nature of the game sharpens our points of view.
Eighteen Fences 2017
LONGER CONVERSATIONS
Very early on in the game, we began to see past simple pairings and we began to experiment with how multiple images extend the narrative, or really SEE where one might just glance. We are now exploring conversations arrayed in strips, grids, and clusters.
Very early on in the game, we began to see past simple pairings and we began to experiment with how multiple images extend the narrative, or really SEE where one might just glance. We are now exploring conversations arrayed in strips, grids, and clusters.
From the Summer House series 2015
RESEARCH
We have seen our conversations evolving with a capacity to really getting to know a place, and event, or a work of architecture. The immediacy and flexibility of the mighty smartphone, combined with our experienced back-and-forth, allows the potential for a fresh understanding.
We have seen our conversations evolving with a capacity to really getting to know a place, and event, or a work of architecture. The immediacy and flexibility of the mighty smartphone, combined with our experienced back-and-forth, allows the potential for a fresh understanding.
WTIP Exhibit View, Narrows Center for the Arts 2013
GETTING REAL
Presently the physical portfolio of WTIP images consists of archival inkjet prints on 16"x 20" rag paper. We have made projections to run in the storefront of Liz's Studio, and we are exploring larger format pictures.
Presently the physical portfolio of WTIP images consists of archival inkjet prints on 16"x 20" rag paper. We have made projections to run in the storefront of Liz's Studio, and we are exploring larger format pictures.
About WTIP
All images copyright Liz Linder and Rich Griswold An icompendium Site
