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Film Sculpture Motion


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Film Sculpture Motion


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Embossing


 

Time Sensitive – A Statement

 

My artistic practice involves multi-layered processes and explores volcanic and tectonic activity, and how the planet functions and evolves.

Subtle changes occur over time and are often latent and not immediately visible. They come to be recognized incrementally. Simultaneously, some shifts can be dramatic, sudden, even violent. I am interested in these variations.

Thinking about photography as the core of my artmaking practice, I have come to understand the medium as being capable of operating in parallel to the planet’s ability to transform itself. The cataclysmic forces of nature, which include cycles of destruction and creation, are similarly present in my own work, but are active at a more intimate scale.

In my growing body of work, a drawing-like image in the form of a silver gelatin print representing the outline of a carving meets a heated film sculpture in a dark chamber made of wood and black chromogenic prints. Photography also enters into a dialogue with painterly moving images & sound, and printmaking merges with ceramics. This back and forth between media and techniques is symbiotic with a meditation on the movements of the planets over time, and it inspires my interpretation of geological formations through artmaking.

Heat, pressure, erosive and chemical reactions, imprinted traces, and extremes of light and darkness are key to the photographic hybrids that I create. These phenomena are in dynamic exchange in my work and migrate seamlessly between media such as carving, printmaking, sculpture, painting and the moving image. This back and forth between processes  allows for the emergence of a different kind of visual language that supports new forms and vocabularies.

 

Embossing


 

Time Sensitive – A Statement

 

My artistic practice involves multi-layered processes and explores volcanic and tectonic activity, and how the planet functions and evolves.

Subtle changes occur over time and are often latent and not immediately visible. They come to be recognized incrementally. Simultaneously, some shifts can be dramatic, sudden, even violent. I am interested in these variations.

Thinking about photography as the core of my artmaking practice, I have come to understand the medium as being capable of operating in parallel to the planet’s ability to transform itself. The cataclysmic forces of nature, which include cycles of destruction and creation, are similarly present in my own work, but are active at a more intimate scale.

In my growing body of work, a drawing-like image in the form of a silver gelatin print representing the outline of a carving meets a heated film sculpture in a dark chamber made of wood and black chromogenic prints. Photography also enters into a dialogue with painterly moving images & sound, and printmaking merges with ceramics. This back and forth between media and techniques is symbiotic with a meditation on the movements of the planets over time, and it inspires my interpretation of geological formations through artmaking.

Heat, pressure, erosive and chemical reactions, imprinted traces, and extremes of light and darkness are key to the photographic hybrids that I create. These phenomena are in dynamic exchange in my work and migrate seamlessly between media such as carving, printmaking, sculpture, painting and the moving image. This back and forth between processes  allows for the emergence of a different kind of visual language that supports new forms and vocabularies.

 

Postpile2016©AndreanneMichon.jpg

Silver Gelatin


Silver Gelatin


 
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Water Power Flood


Water Power Flood


 
 
 
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Lava


Lava


 
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Film Sculpture


Film Sculpture


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Quiver Video


Quiver Video