My initial intention with this drawing was to work through the various textures found on several of my cameras to create a mechanical, yet organic figure or landscape. I knew that by taking various textures, combining them together, then shading with an imagined light source would suggest uniformity. Although, I did not want to decide on a predetermined end-goal of an image so I began only by translating textures and shapes that were common among all of my cameras. I also settled with a perspective that would factor into every element I would add, such as only working from a top-down (bird's eye) view and utilizing asymmetrical balance.
As I continued adding texture, I would step back from the image to determine what it was turning into, subject wise. From this point, I began to add shading and an, unseen, light source that would tie all the elements together into an abstract landscape.
The artists that I used as inspiration for my methodology were Vija Celmins and Sydney Croskerey of whom were featured in your powerpoint presentation.
Vija Clemins is know for her detailed representations of texture in natural subjects, such as ocean waves or spiders webs. Her intense focus on the detailed intricacies of natural movement and dseign inspired my use of the vertical lines throughout my piece, which are actually the folded billows of my polaroid land camera. I also wanted to simulate nature in some way, so I thought that the grippy-texture from my Nikon EM camera, utilized in the upper right quadrant of my piece sufficed, as it could be considered to be trees from a distance, honeycomb, etc..
Sydney Croskerey is known for her use of layering drawn objects, and changing their perspective or size which ultimately changed how the individual subjects of her work interacted with each other. My piece is much more simplistic in my use of subjects, but I warped the size of pretty much every single element I used.
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