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Flack & Shit, 2004 Digital Print |
Works on Paper:Digital ImagesMy interest in collage and assemblage of traditional materials has transferred easily to collage of digital images. The computer uses photographic images more easily than possible before with straight photograpy. As we see in advertising, this is leading to its own aesthetic. Too often, though, we are distracted by its tricks. Given a few simple tools in software, however, one can concentrate precisely on visual form building and content. In 2004, I was playing with my modest digital camera in my computer room. I snapped portraits of myself. Well, digital cameras don't "snap" anymore, right?. And I did not have to worry about spending money for film. So I "snapped" away, exploring various ways I could photograph myself. Eventually, this led to this series, in which I function, as photographer, artist and an actor. Perhaps I can call it visual pantomime. I used no realistic props, (that is, no uniforms, no weapons, no helmets, not even anything that was at hand). I assembled my own image, the ambient darkness of the room, and some incidental lights and objects around my computer desk into digital collage scenes that reminded me of moments some 35 years ealier in Chu Lai, Vietnam. The results are theatrical, as if the scenes were taken on a bare stage with theater spot lights. Some open up the shallow space of the stage to a deep space of a landscape at night. Poses, posturing, juxtaposition, composition and jacked-up color combine into key elements shamelessly reeking of ridiculous artificiality. All the human figures repeat my own image; no other actor participates here. Yet, these simple collages revive, fearful, funny, nightmarish and even awesome memories that that had long faded. They are an aspect of my experience, perhaps a truth brought out with lies. |
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One Jimmy Durante Night
Who knows about Jimmy Durate any more? Hardly anyone did almost forty years ago, that is anyone under the age of 20. Well, my war, some forty years ago, pushed nerves to sometimes ridiculous extremes when things were terrible on one hand, but odd on the other. Humor was a key to making it. We were just kids. I remember one evening in the hooch -- I think his name was Eddy was fooling around. This tall boy with pimply, pink skin and straw blond hair was playing Jimmy Durante. He was a riot. Other guys began to gather into his cubicle surrounded by lockers and army cots, all laughing as we watched. "Okay folks! Let's hear da music!", imitating the old comedian's raspy voice, shaking his head at a slant waving his huge nose to "TV Land". "Let's hear the music!" At that point an explosion shook the building. A missile had hit within yards of the hooch. We all broke out in even greater laughter. They could hardly scoot us to the bunker in case a second rocket would hit. They had to remind us to find our weapons. Minutes later, I was laying on the beach in the dark watching for sappers, yards away from any one else, accept a critter in the brush on a mound of earth I used for cover. (Chu Lai, 1969) |
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