In the world of digital photography, which has the most influence over the image – the photographer, the camera equipment, or the post-production software? The answer isn’t clear cut, and it’s a conundrum that is examined in a collection of work called Brush It In at London’s Flowers Gallery, looking specifically at the Photoshop effect and the meta-language that has been born from the Adobe product’s phenomenal success.
Going way beyond the capabilities of traditional darkroom techniques, the six artists – Joshua Citarella, Fleur van Dodewaard, Christiane Feser, Darren Har vey-Regan, Antonio Marguet and Anne de Vries – have produced images that once again ignite the debate as to whether the empirical truth of an image is lost with post-production trickery, or whether the altered image is as viable a piece of work as a virgin one.
Far be it from us to answer it for you; as an online magazine we’re obviously quite keen on technology, and really like these physics-defying, space-bending images, but have a look and decide for yourself. Brush It In, curated by Lorenzo Durantini, runs until 5th January.
Santa Barbara New Car Scent, 2011
Antonio Marguet
Chromogenic print
107 x 92 cm
Edition: 5
BLAH
126,270,089, 2012
Joshua Citarella
Chromogenic print
60 x 90 cm
Edition: 3
Skew Merge Curves Clone, 2012
Joshua Citarella
Chromogenic print
66 x 83 cm
Edition: 5
More or Less Obvious Forms, 2012
Darren Harvey-Regan
C-type print
61 x 54 cm
Edition: 5
CAVE2CAVE MG_1286, 2010
Anne de Vries
UV print on mirrorfoil
140 x 95 cm
Edition: 3
The Halt, 2011
Darren Harvey-Regan
C-type print with axe
54 x 43 cm
Edition: 5
Study for a Black Nude, 2011
Fleur van Dodewaard
Archival inkjet print
135 x 90 cm
Edition: 5
