Data

Digital Narratives, (solo show)

RMIT University, Australia
Bronislaw De Wilmesau-Kozka (Aggregated by)
Viewed: [[ro.stat.viewed]] Cited: [[ro.stat.cited]] Accessed: [[ro.stat.accessed]]
ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Adc&rfr_id=info%3Asid%2FANDS&rft_id=info:doi10.25439/rmt.27345852.v1&rft.title=Digital Narratives, (solo show)&rft.identifier=10.25439/rmt.27345852.v1&rft.publisher=RMIT University, Australia&rft.description=BACKGROUND The use of tableaux in contemporary photography is well documented, particularly in the works of Gregory Crewdson, Jeff Wall and Tom Hunter. While Bronek acknowledges their practices, his research aims to move beyond static photographic imagery. In drawing inspiration from some of the work of Dennis Del Favero, Bronek creates detailed tableaux photographs inviting viewers to interact with the immersive aspects of his digital construction (utilising Microsoft's Photosynth). CONTRIBUTION The artist's interest in augmented reality has grown from observing how people engaged with his print work, noting they would stand back from the highly detailed image, move closer, isolate aspects of interest, move back again - and sometimes even try to 'look into the frame'. This observed curiosity led Bronek to investigate technologies that would enable interactive exploration of a tableau image. Photosynth enables him to orchestrate a scene to be viewed and explored from many angles and perspectives. For example, Remember That? invites viewers to look through a selection of family slides, set in with 'real' family slides (the real family history). These constructions and false memories draw into question our reliance on photographs to document personal histories. Nostalgia Made takes the idea of the constructed still image to the moving image; all the footage taken for this work was a contrived construction. The video is framed in the mirror section of a bedroom dresser that not only frames but becomes part of the work. SIGNIFICANCE This innovative, solo exhibition explores the ambiguity of fact and fiction in our ability to recall a scene or event. Assisted by an Australia Council for the Arts New Work grant and Winner of the Critics' Choice, Arts Hub Innovation Award for an Individual, it was nominated by Jules Boag, exhibitions co-ordinator, Albury Regional Art Gallery. He curated Digital Narratives, describing the show as intuitive, innovative and exciting.&rft.creator=Bronislaw De Wilmesau-Kozka&rft.date=2012&rft_rights= https://rightsstatements.org/page/InC/1.0/&rft_subject=Photography, video and lens-based practice&rft_subject=Jeff Wall and Tom Hunter are important in positioning this work. While this work acknowledges their practices it aims to extend beyond the static photographic image. Drawing inspiration from some of the work of Prof. Dennis Del Favero&rft_subject=The use of the tableau in contemporary photography is well documented. In particular the works of Gregory Crewdson&rft_subject=around the corner. This led me to explore various technologies that would enable interactive exploration of the tableau image. Photosynth enables me as the creator to orchestrate a scene that can be viewed from many angles & perspectives. The viewer then can freely explore the image. "Remember that?"&rft_subject=but it does draw into question our reliance on photographs to document our personal histories. "Nostalgia Made"&rft_subject=directed&rft_subject=false memoires. This is not a test&rft_subject=isolate aspects of interest&rft_subject=it is not an attempt to trick anyone&rft_subject=move back again & sometimes try to "look into the frame"&rft_subject=move closer&rft_subject=not only frame but become part of the work. This work was produced with the assistance of Australia Council for the Arts "new work" grant. This body of work won the Critics choice Arts Hub Award for Innovation 2012.&rft_subject=set in with the 'real' family slides (the real family history) are a series of constructions&rft_subject=takes the idea of the constructed still image to the moving image. All the footage taken for Nostalgia Made was a contrived construction&rft_subject=the actors movements&rft_subject=the framing intentional. The video is framed in the mirror section taken from a bedroom dresser. I am interested in using appropriate pieces of furniture to&rft_subject=these works invite the viewer to interact the immersive aspects of the digital construction that is the Photosynth. My interest in Photosynth & augmented reality has grown from watching how people engaged with my print work. I would watch as people would stand back from the highly detailed image&rft_subject=viewers are asked to look through the selection of family slides&rft.type=dataset&rft.language=English Access the data
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BACKGROUND The use of tableaux in contemporary photography is well documented, particularly in the works of Gregory Crewdson, Jeff Wall and Tom Hunter. While Bronek acknowledges their practices, his research aims to move beyond static photographic imagery. In drawing inspiration from some of the work of Dennis Del Favero, Bronek creates detailed tableaux photographs inviting viewers to interact with the immersive aspects of his digital construction (utilising Microsoft's Photosynth). CONTRIBUTION The artist's interest in augmented reality has grown from observing how people engaged with his print work, noting they would stand back from the highly detailed image, move closer, isolate aspects of interest, move back again - and sometimes even try to 'look into the frame'. This observed curiosity led Bronek to investigate technologies that would enable interactive exploration of a tableau image. Photosynth enables him to orchestrate a scene to be viewed and explored from many angles and perspectives. For example, Remember That? invites viewers to look through a selection of family slides, set in with 'real' family slides (the real family history). These constructions and false memories draw into question our reliance on photographs to document personal histories. Nostalgia Made takes the idea of the constructed still image to the moving image; all the footage taken for this work was a contrived construction. The video is framed in the mirror section of a bedroom dresser that not only frames but becomes part of the work. SIGNIFICANCE This innovative, solo exhibition explores the ambiguity of fact and fiction in our ability to recall a scene or event. Assisted by an Australia Council for the Arts New Work grant and Winner of the Critics' Choice, Arts Hub Innovation Award for an Individual, it was nominated by Jules Boag, exhibitions co-ordinator, Albury Regional Art Gallery. He curated Digital Narratives, describing the show as "intuitive, innovative and exciting".

Issued: 2012

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Jeff Wall and Tom Hunter are important in positioning this work. While this work acknowledges their practices it aims to extend beyond the static photographic image. Drawing inspiration from some of the work of Prof. Dennis Del Favero | Photography, video and lens-based practice | The use of the tableau in contemporary photography is well documented. In particular the works of Gregory Crewdson | around the corner. This led me to explore various technologies that would enable interactive exploration of the tableau image. Photosynth enables me as the creator to orchestrate a scene that can be viewed from many angles & perspectives. The viewer then can freely explore the image. "Remember that?" | but it does draw into question our reliance on photographs to document our personal histories. "Nostalgia Made" | directed | false memoires. This is not a test | isolate aspects of interest | it is not an attempt to trick anyone | move back again & sometimes try to "look into the frame" | move closer | not only frame but become part of the work. This work was produced with the assistance of Australia Council for the Arts "new work" grant. This body of work won the Critics choice Arts Hub Award for Innovation 2012. | set in with the 'real' family slides (the real family history) are a series of constructions | takes the idea of the constructed still image to the moving image. All the footage taken for Nostalgia Made was a contrived construction | the actors movements | the framing intentional. The video is framed in the mirror section taken from a bedroom dresser. I am interested in using appropriate pieces of furniture to | these works invite the viewer to interact the immersive aspects of the digital construction that is the Photosynth. My interest in Photosynth & augmented reality has grown from watching how people engaged with my print work. I would watch as people would stand back from the highly detailed image | viewers are asked to look through the selection of family slides |

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ACN 633 798 857