Chroma Sky (Blue Key)
Artist: Cătălin Petrişor
Curator: Diana Dochia
12.04.2007 – 12.05.2007
Opening: 12.04.2007 at 07:30 pm
The “Chroma Sky (Blue Key)” project is based on the same process known as “chroma key” or “blue screen” used both in photographic art and cinematography. This process consists in photographing or shooting the subject in front of a uniform illuminated screen, often blue, green or red. The necessary condition is that no hue from the subject’s palette of colors has to be found in the background. This allows the background to be digitally selected and replaced with another image. It is a process that gives us the opportunity to make infinite combinations.
In my project, I don’t use images obtained with the help of “blue screen”/”chroma key” nor do I illustrate the phases/stages: photographing, digital elimination of the blue areas, replacing them with another image. I have chosen this theme for the way in which it uses the complementary attachment concept: foreground and background, tri-dimensional and bi-dimensional, positive and negative. I have started from considering the sky as a natural “blue screen”, therefore an artificial element that can be extracted and manipulated. On an initial collection of images I have applied digital effects (the inversion of perspective, multiplications, collage, chromatic inversion) and mechanical effects (cuttings, folds, followed by re-photographing).
The transformations that I have imposed on these images had the purpose of creating a recycled reality in the layer of which references to the model, copy and simulacrum can still be seen. There are two aspects that I found to be exploitable in this working method and particularly in this theme. The first aspect would be that working upon photographs allows you to choose between representing the form of the photograph, its content or between combinations of the two. You also have the possibility of considering the photograph as an objective environment, the perfect copy. You may modify both the image represented in the photograph and the photograph itself, as an object, and then the photograph becomes both a reality-like-simulacrum and a reality in itself. When I transferred the photograph/object in painting, I reproduced both the simulacrum and the model. The second aspect would be that the representations of the sky naturally require concepts like plein-air, infinite, the impossibility of accepting any kind of constraints, any kind of a pattern, which helps blurring the conceptual patterns and recycling. My works delimit a sinuous line between these two aspects. The final construction that I have obtained it is neither a pure representation of reality nor a simple reproduction of images, but a superior situation in which content and representation concepts go together in a different relation from the original context. My project is not a study of method or image, but one of perception.
I don’t accept those terms such as photorealism, hyperrealism, surrealism or figurative can be good definitions for the type of painting I practice. Painting is for me a way of forcing or enlarging the possibilities of perception and interpretation of an image. The photograph is an environment that spreads information. The painting is a reproductive environment which is faulty and subjective and in which information is lost and transformed.
Cătălin Petrişor, artist