Dynamism of an Automobile (after Luigi Russolo)
Dynamism of a Cyclist 2001 (after Umberto Boccioni)
Dynamism of a Cow
Dynamism of an Observer in the Weeds
Digital inkjet prints
Individual prints: $1,500
Jim Campbell explores the nature of interactivity, especially as it relates to the Heisenberg Principle, which posits that attempts to closely measure or observe a phenomenon alter it, thereby making precise observation impossible. The Dynamism series tempts the viewer to move closer to the object to bring it into focus, but the image becomes less legible as the distance decreases. Here Campbell makes a reference to Futurism, the international art movement founded in Italy in 1909. Futurists, such as Luigi Russolo and Umberto Boccioni, emphasized the dynamism, speed, energy, and power of the machine and the vitality, change, and restlessness of modern life.
Dynamism is a suite of four digital inkjet prints. The artist videotaped movement (his motion) of each object for a specific period of time, then used custom hardware to average the multiple frames into one single image. The result is a blurring effect that gives the appearance of motion. For Dynamism of an Automobile (after Luigi Russolo) the artist averaged two minutes of video taken traveling down the freeway, Dynamism of a Cyclist (after Umberto Boccioni) was averaged over two minutes and thirty seconds, Dynamism of a Cow was averaged over three minutes and Dynamism of an Observer in the Weeds was averaged over 93 minutes. The images were printed with archival inks on cotton rag paper made specifically for Epson inks.
With a background in engineering and filmmaking, Jim Campbell creates interactive video installations. In these works, he thwarts the viewer’s attempt to control the viewing process and bring the objects into focus. In Library, he mixes high- and low-resolution photography and still and moving imagery. By removing other defining characteristics in his low-resolution images, he allows movement to define their meaning.
Library is composed of a high-resolution photogravure of the New York Public Library, printed on rice paper and placed in a Plexiglas frame suspended in front of an L.E.D. surface containing a 25-minute video chip loop of low-resolution moving images. Indistinct images of birds and people appear to move in and out of the library and across the facade. Library is first in a new series of works in which the artist is exploring photogravure prints combined with low-resolution moving images.
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