August 28, 2006
Marina del Rey, Calif. — Float Gallery presents works of direct digital capture by Marsha Tudor, August 31 through September 16, 2006.
The show includes original digital prints from botanical sources which, despite their representational origin, explore perception and visual relationships.
Marsha Tudor, scanner artist, challenges conventional views of photography and digital capture. Using an Epson 4990 scanner, she creates images of such sculptural dimensionality that they belie the flat surface on which they are created. The exceptional resolution possible with a flatbed scanner produces images of remarkable clarity; this sharp focus is dramatically supported by the dark backgrounds which often result from the top being removed from the scanner.
This emerging technology produces a distinctive appearance which is, in part, the result of a moving light source. With no camera lens, there is no distortion at the edges; the entire image is equally in focus. For the same reason, file sizes can become enormous. The amount of data retrieved is extraordinary because the scanned capture is often at a 1:1 ratio with the original item. Macro scans take this one step further, they effectively view objects as though through a microscope, picking up texture and structure normally not visible even in a large format photograph.
Images are painstakingly edited pixel by pixel to remove any specks of dust or imperfections in the plant material itself. This process can take as many as 10 to 40 hours for each image, and then the real work begins. Using Photoshop, and other software, the images are modified; the color, texture, and/ or transparency are manipulated to achieve heightened visual effects.
A second generation Southern Californian, Marsha lives with her family in Claremont where she is inspired by a very rich local plant palette. With a background in fine arts, earning a degree from California State University East Bay with a concentration in drawing in 1978, Marsha has, in the last few years, migrated to exclusively digital work. Even in earlier work Marsha’s interests were for natural subject matter and a somewhat representational style, many times using a series of the same subject to push the exploration deeper. This process leads inevitably to abstraction.
“Abstraction is not an objective of art, but one achieves abstraction, despite oneself, by entering into the real nature of things” ~Brancusi
From earliest childhood, being fascinated by plant materials and the spatial relationships they create with themselves, one another and the land around them, Marsha’s dream world was filled with fairies and elves who danced in moon lit glens. Childhood books and hours spent outdoors idling time away left an aesthetic paradigm and process that filters current “finds” through a rigorous analysis.
Marsha’s earlier work, primarily pastels, watercolor, and Prismacolor pencil also reflect her interest in organic forms, abstraction, and complex use of color. It is easy to see the influence of Georgia O’Keefe in her work. Other strong influences include Tiffany, Monet, deChirico, Redon, and botanical illustration. A reviewer’s comment that Marsha’s work is “unabashedly feminine,” reflects recognition of the importance of work being a process of personal introspection.
Professionally, Marsha’s work includes floral design, commercial illustration, landscape design and drafting, Her wide ranging experience includes illustrating the book “Feasting on an Allergy Diet,” designing a water conservation perennial garden for Castaic Lake Water Agency, a 3-D AutoCAD illustration for Quakes Baseball Team, and has shown her work in galleries in Sacramento, Fresno, Fort Bragg, and Alta Loma.
She became acquainted with computers originally to do AutoCAD for landscape design. Beyond her bachelor’s degree, her training includes horticulture, floral design, botany, and photography which lead eventually computer graphics. Now the digital shift is complete, but the original vision remains.
Aesthetic concerns have always been about beauty and enigma; the areas in which they overlap provide an intriguing arena for exploration. A bit of mystery hovers as images often create an atmospheric quality receding back into dark shadows. The three dimensional nature of the subject matter is of utmost importance. Flat items are expressly avoided because they have little sculptural value.
Another related long-time concern of the artist is the juxtaposition of organic forms with geometry. Tessellations, arrays and mirrored images tug at the apparent contradiction of the soft verses hard, curvilinear verse rigid or irregular verses structured. Patterns play with these dichotomies and contribute to the use of art as a vehicle for shifting perspectives.
About Float gallery.
Float gallery opened in June 2006 in Marina del Rey, California.
The gallery is dedicated to the digital community in that it is the place where digital artists can show their works and demonstrate their art and mastering of the digital tools.
Float gallery will show every month a new exploration into the digital space by inviting artists who are at the leading edge of art and usage of technologies that can be beyond digital like stereolithograpy, liquid paper, holograms etc..
Float gallery is located in the heart of Marina del Rey in California.
The address is 14025 Panay Way, Marina del Rey, CA 90292 – USA
The gallery is open Tuesday to Sunday 1pm – 7pm. The gallery is closed on Monday.