- Non-linear narrative.
- Strip away the layers.
- Reconstruct, redefine, reveal.
In the musical context, a DJ remix takes an existing work and transforms it by addition, subtraction, modification. Quoting from Wikipedia:
remixing can be seen as a major conceptual leap: making music on a meta-structural level, drawing together and making sense of a much larger body of information by threading a continuous narrative through it.
In my visual remixes, I capture multiple images, usually a series in time or spectral bands like visible and infrared. In the post-processing phase, I composite the images to create my vision.
To create Tempest (inquiry), I made multiple digital photographs of a glass teapot containing ordinary bubbles in plain water, under typical white strobe light, without the use of colored filters. The colors are generated in the post-processing phase, using Adobe Photoshop to extract spectral information. In this image, I assembled elements from more than a dozen images into the composite.
In Sequoia Skies, I shot the same scene of Mariposa Grove in the visible and IR bands, working quickly in the fading sunset light. I combined the two camera generated images and a colorizing layer (IR results in a greyscale image) to produce the final scence.
In my artist statement for the SIGGRAPH exhibition, I wrote: “As with film-based multiple exposure photos, the photographer can use this technique to visualize spatiotemporal histories that are otherwise lost. But, unlike film-based exposures, digital photography gives the photographer immediate access to the source spectral and precisely time-stamped channels. The resulting transformation of time into spectral space yields a non-realistic yet evocative approach to image-making.” Which is a highbrow way to say that this process is extraordinarily fun, often surprising, and immensely rewarding.*
I named the blog Pixel Remix as a reference to the art I make and also because the process of blogging is a lot like DJ remixing one’s own narrative. Or so I try.