Early enquiry involved in-depth interviews with a group of artists conducted in their studios in York. A number of concept designs and low-tech prototypes were then developed.
Graphic artist Nick Sellers displays and sells his local scenes as limited edition high quality prints. Selected images—which he produces using software applications such as Photoshop—were deconstructed into individual “layers” and installed on digital frames. The animation (above) gives an impression of how these looked. The pieces were exhibited alongside the artist’s paper prints in the design gallery and shop at Bar Lane Studios in York to elicit customers’ responses
Nathan Walsh employs highly developed draftsmanship skills in the creation of paintings which take months to complete. These aspects of Walsh’s practice were reconsidered in relation to notions of “slow technology”. This is said to be in part a reaction against the impulses toward instantaneity afforded by digital technology.
The concept design, below left shows from top: “the artist’s hands at work” as Walsh drafts out Chicago in the Rain, the material outcome of Walsh’s expertise, and the finished work re-presented durationally. A gallery-sited video would play back the documented art-making process over the time it took to make the original work.
Alternatively, Walsh’s creative process was conceptualised as “as live” public art (below), with an underground station’s advertising monitors updating daily to display the painting’s development.
Briggs J. and Blythe M., ‘No Oil Painting: Digital originals and slow prints.’ [pdf]
Blythe M., Briggs J., Olivier P. and Hook J., ‘Digital Originals: Reproduction as a space for design.’ [pdf]
Also see: Blythe M., Briggs J., Hook J., Wright P. and Olivier P. ‘Unlimited Editions: Three Approaches to the Dissemination and Display of Digital Art.’ [pdf]