Apres Planet Feb - Flipbook - Page 24
ART
MACRO
VS
MICRO
F
ine art prints. Why?
Is it not like buying a replica
Eames? I mean even though they look
the same they just are not. Quality
wise and ethically they just don’t cut
the mustard. Then why do artist make
so much out of their 昀椀ne art prints?
It can boil down to the asking price.
Similar to that of the Eames chair. Not
many can afford the hefty ask. It was
personally a no go zone to populate
the house with prints. If you can’t
afford the original, then work harder.
Until then buy up your local artists’
originals and build from there. That
was the thinking. Until now.
With todays modern scanning and
printing techniques we are able to
expand a small piece of work to a
size that it was not intented to be
displayed at. Thus shaking off the
artist’s factory default setting and
exposing the piece as something new,
at least new in terms of scale. It is the
scale that will reveal mysteries and
subtleties of the work.
Take for instance this artist. A series
of A4 paper collages. True to the
size and natural 昀氀ick of the wrist.
The style developed over many years
is particular to the small size. The
curves and the twitches are only
achievable on a small scale. This
would not be able to be reproduced
by brush or paint marker as the
motor function of the arm and body
differ when performing bigger works.
Expand this 30cm piece to over
1m high. The work takes on a new
life. Those curves and 昀氀icks were
not born in the macro. But yet here
they are, existing in all their honed
glory. Illegally born through digital
reproduction but living a new life non
the less. Living large as some would
say. Can this now be considered an
original?
Let’s take it further. And now crop into
sections of the piece and present it as
a new whole. Is that now an original?
It’s umbilical cut from its origin.
This will be judged by the jury. And
the jury is you.
YESTERDAY’S NEWS TOMORROW
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