imge ozbilge Personal RSS Feed http://www.behance.net/flyingcat http://www.behance.net/Gallery/treespirit/62445 http://www.behance.net/Gallery/treespirit/62445 Thu, 28 Feb 2008 19:13:58 -0600 http://www.behance.net/Gallery/my-holidays-on-uranus-(selfportrait)/62448 http://www.behance.net/Gallery/my-holidays-on-uranus-(selfportrait)/62448 Thu, 28 Feb 2008 19:35:31 -0600 http://www.behance.net/Gallery/teaching/62442 http://www.behance.net/Gallery/teaching/62442 Thu, 28 Feb 2008 19:02:02 -0600 http://www.behance.net/Gallery/untitled/62441 http://www.behance.net/Gallery/untitled/62441 Thu, 28 Feb 2008 18:56:33 -0600 http://www.behance.net/Gallery/the-3_-eye/62439 http://www.behance.net/Gallery/the-3_-eye/62439 Thu, 28 Feb 2008 18:48:31 -0600 http://www.behance.net/Gallery/what-happened-in-osmanlA/61945 http://www.behance.net/Gallery/what-happened-in-osmanlA/61945 Tue, 26 Feb 2008 12:25:07 -0600 The word “remastered” is most commonly found in the music industry, where it refers to remixed version of an original recording called “the master”. However, far from limiting itself to music, remastering has been also a strong component of contemporary art since the early nineties, where it is referred to as “post-production” and consists of reusing available mass media, such as films, commercials or posters to create new art. These trends explain the source of my motivation behind “Remastering Klimt” project. Klimt’s paintings like other paintings by Western masters from such a part of our collective conciousness that we see them without questioning their status or the genius of their authors. They are just there, in the background of our image database, and their powerful auras fade away as they are reproduced in books and in such commercial applications as postcards, ties or even scarves in Kapalıçarşı for tourists. The purpose of the project is to react to the works of Klimt so as to reveal what makes them timeless, and encourage a dialogue between past and the present. However sexual implications of Klimt’s overlay surprised few of his contemporaries. As early as 1908 Viennese architect Adolf Loos, had publicly accused Klimt of erotic pollution.. In a speech intending to shock the complacent bourgeoisie, and published under the title Ornament and Crime, Loos discussed what he considered the erotic origin as well as the outdated “plague of ornament” besetting Austrian art. A fellow Viennese Sigmund Freud, would have agreed with all of Loos’s statements concerning the erotic element in art, but not with Loos’s contention that ornament was no longer organically connected with or expressive of the present culture. Here Freud and Klimt both opposed Loos; for them the interpolation of a symbolic dream, or of a decorative overlay, was the link between the conscious and the unconscious life. Still in our time, Klimt’s decorative overlay gives us the sense of “love and beauty” instead of the sense of “erotic pollution”. Is it possible to say that in our time we are living in “visual pollution”? This question is also my motivation when I was shooting these Klimt photos. Instead of creating new images, I tried to remaster Klimt’s paintings and I want to see the effects of the overlays by painting them on clothes and backgrounds. I use the same colors and symbols to see if these overlays gives the same “love and beauty” effect on the audience. Sources: Alessandra Comini �" Gustav Klimt (Thames and Hudson, London 1975) Sebastien Agneessens �" Remastered ( Die Gestalten Verlag, Berlin 2006) http://www.behance.net/Gallery/klimpt-remastered/61952 The word “remastered” is most commonly found in the music industry, where it refers to remixed version of an original recording called “the master”. However, far from limiting itself to music, remastering has been also a strong component of contemporary art since the early nineties, where it is referred to as “post-production” and consists of reusing available mass media, such as films, commercials or posters to create new art. These trends explain the source of my motivation behind “Remastering Klimt” project. Klimt’s paintings like other paintings by Western masters from such a part of our collective conciousness that we see them without questioning their status or the genius of their authors. They are just there, in the background of our image database, and their powerful auras fade away as they are reproduced in books and in such commercial applications as postcards, ties or even scarves in Kapalıçarşı for tourists. The purpose of the project is to react to the works of Klimt so as to reveal what makes them timeless, and encourage a dialogue between past and the present. However sexual implications of Klimt’s overlay surprised few of his contemporaries. As early as 1908 Viennese architect Adolf Loos, had publicly accused Klimt of erotic pollution.. In a speech intending to shock the complacent bourgeoisie, and published under the title Ornament and Crime, Loos discussed what he considered the erotic origin as well as the outdated “plague of ornament” besetting Austrian art. A fellow Viennese Sigmund Freud, would have agreed with all of Loos’s statements concerning the erotic element in art, but not with Loos’s contention that ornament was no longer organically connected with or expressive of the present culture. Here Freud and Klimt both opposed Loos; for them the interpolation of a symbolic dream, or of a decorative overlay, was the link between the conscious and the unconscious life. Still in our time, Klimt’s decorative overlay gives us the sense of “love and beauty” instead of the sense of “erotic pollution”. Is it possible to say that in our time we are living in “visual pollution”? This question is also my motivation when I was shooting these Klimt photos. Instead of creating new images, I tried to remaster Klimt’s paintings and I want to see the effects of the overlays by painting them on clothes and backgrounds. I use the same colors and symbols to see if these overlays gives the same “love and beauty” effect on the audience. Sources: Alessandra Comini �" Gustav Klimt (Thames and Hudson, London 1975) Sebastien Agneessens �" Remastered ( Die Gestalten Verlag, Berlin 2006) http://www.behance.net/Gallery/klimpt-remastered/61952 Tue, 26 Feb 2008 15:30:09 -0600