negative not negative

one of things that i concluded from my last image making using a mixture of digital and analogue processes was the potential to throw something onto the binary mix of a negative image translation. if black equals white and white equals black i wondered if the image colour translation could be disrupted somehow by another colour that might not have a readily available opposite colour. not wanting to mask the negative quality or the details and bitmap quality already produced in the black and white screen print, i chose a semi-transparent blue colour which the eye/brain could accept or translate into another colour.

process images

further reflection: experimenting with colour negative attributes in photoshop, it turns out that blues translate as yellows when printed. in a digital age, analogue colour film negatives are not as common as they once were so translation of colours are not familiar. again, this ties into what i have been reading about optic and haptic perception, where something might be understood at a distance and a nearness, sliding between logical and sensational perception. in retrospective, i also think that another reason for my addition of a colour layer was something to do with acknowledging its screen print quality. a screen print is not a film negative, a screen print is a screen print: a composition of layers, ink, colours and surfaces – haptic qualities to acknowledge not ignore. so next steps – i think there is lots of scope to explore colour negative images which the eye sees or brain translates but perhaps not in logical opposites but a mixture of logic and senses. disrupting the logical with the sensational, i also think there is scope to experiment with screen print methods such as mixing photo stencils with drawing stencils or cut stencils etc. of course, keeping in mind the relationship of experience to image and image to experience, all roads eventually lead back to landscape, body, gender in some way, whether logically or not.


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