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What comes before Why? a hand drawn conceptual negative

What Comes Before Why is an abstract, conceptual visual artwork hand drawn on acetate. The composition depicts a street scene. A well-dressed man walks towards the viewer, another less consequential figure walks in the opposite direction. The scene is dominated by a large street sign which reads “What”.

The picture is based on an original street photograph taken near to St. Paul’s Cathedral in London. A sketch of the photograph was made on acetate using ink. The acetate was then placed onto a light table and photographed. The picture was then turned into the representation of a (conceptual) photographic negative by inverting the tone curve of the digital image.

The anonymity of the figures represents anonymity of large cities. It also speaks to the anonymity of characters in street photographs. The human figures are essential parts of the scene, but their identity seems almost without consequence.

Rather, it is the relationship between the place and the people that seems more important. The street sign asking “What” could therefore be read as a comment on what street photography really is and the nature of the relationship between people and the built environment.

- part of a series of images based on creating 'negative-like' representations of objects and scenes, to express them in unusual colour schemes and to explore the essential compositional elements of which the image is comprised.

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Filename
SRN_20231114_0003-Edit.jpg
Copyright
Steve Nimmons
Image Size
6240x4160 / 9.9MB
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Contained in galleries
Essentially Negative: Seeing in Opposite
What Comes Before Why is an abstract, conceptual visual artwork hand drawn on acetate. The composition depicts a street scene. A well-dressed man walks towards the viewer, another less consequential figure walks in the opposite direction. The scene is dominated by a large street sign which reads “What”. <br />
<br />
The picture is based on an original street photograph taken near to St. Paul’s Cathedral in London. A sketch of the photograph was made on acetate using ink. The acetate was then placed onto a light table and photographed. The picture was then turned into the representation of a (conceptual) photographic negative by inverting the tone curve of the digital image.<br />
<br />
The anonymity of the figures represents anonymity of large cities. It also speaks to the anonymity of characters in street photographs. The human figures are essential parts of the scene, but their identity seems almost without consequence. <br />
<br />
Rather, it is the relationship between the place and the people that seems more important. The street sign asking “What” could therefore be read as a comment on what street photography really is and the nature of the relationship between people and the built environment. <br />
<br />
- part of a series of images based on creating 'negative-like' representations of objects and scenes, to express them in unusual colour schemes and to explore the essential compositional elements of which the image is comprised.