Page 69 - DontPostMe

They invade and obscure the perfection of the

image, break down and interrupt the normal flow of

communication and challenge us to fill in the blanks or

to put the pieces back together, while also offering a

reminder, a brief flash, of how the visual information

has been interpreted, manipulated, reduced, com-

pressed and ultimately transmitted.

DPM: How did you create your recent projects - En-

tropy, Is Feeling Luck, etc.? Did you take any special

photographs for these projects? And could you please

describe the process of creating your artwork?

EOD: Almost all of my recent work has used found

images; I rarely ever use photographs that I have taken

myself. Instead I have been collecting and cataloguing

images from various mostly online sources for years,

and I continue to add to that collection on an ongoing

basis. In general I have been drawn to the more low

quality images where there are obvious signs of pixela-

tion, noise, static, transmission errors or visual arte-

facts. Often these are unprofessional photographs or

images from the early years of digital photography and

a lot of the images have originated from mobile phone

cameras. So something that started off being viewed

through that little window of the screen on a phone is

eventually blown back up to life size through the paint-

ing process.

With these recent projects the mix and selec-

tion of the images I've used and subject matter

has been crucial. I have always tried to avoid an

arbitrary selection or purely aesthetic selection

and generally the idea of working in straight series

based work bores me. So I have been attempting

to guide the selection in a more deliberate and de-

fined way with an open-ended underlying narrative

thread that runs through everything and this is

something which continues to evolve with my

work.