|ARGO 6 (Screen Series, e/motion Series)
by Paul Tzanetopoulos
|2015 ELEMENTAL – Seeing the Light, Sturt Haaga Gallery, Descanso Gardens, Pasadena, California|
|Six screens, within variable space
Flat screens, digital imagery
“Argo 6” is Tzanetopoulos’ expression of soft focus, impressionistic, kinetic imagery - painting with pure light and movement – as a critical aspect of this work. “Argo 6” is about finding beauty in the mundane. Through the juxtaposition of 6 screens creating a matrix of random associations, the viewer interacts by seeing ambiguous imagery (hundreds of still images morphed into a multiplex video array) and, touching on sense memory, experiences the importance of beauty within the chance encounter. The artist sees this installation as an orchestral work: each screen an instrument adding to the overall organic composition. "Argo 6" scales down and makes intimate previous work, such as his public art installation from the same Series, “e/motion 3,” at the corner of Santa Monica & La Brea. That permanent 2004 work features impressionistic imagery running in real time at a heroic scale. Its proximity of light, color and movement creates a perpetual random painting of light.
Since 1995, artist Paul Tzanetopoulos has worked on and developed a closed circuit imagery Series, installed with video projections, LCDs, and web-based technology. The Series employs fixed and moving cameras installed to provide live imagery for installations. The opening of “e/motion 3” 2004, marked the 30th anniversary of the artist’s projection installations in Los Angeles. His 1974 video installation at the Ruth Schaffner Gallery utilized a pre-recorded “day” documented by video, then re-projected in the gallery installation. Since then, the artist has produced dozens of projection installations, many interactive. The e/motion Series has been an element of this continuing work for over ten years, primarily using closed circuit imagery.
The pieces in the e/motion Series work to remind us of our ability to sense our personal space and its effect on the environment
The installation “e/motion 3” (e/motion Series), features a collage incorporating three separate projections. The projections consist of a composed montage of images, creating an ever changing, kinetic light painting. The images perpetually change and still employ color, movement, and pattern from within this unique public art site in West Hollywood, California. The use of soft, focussed images allows for a degree of both painterly qualities and abstraction while still maintaining image-based projections. This projection installation is an extension of Tzanetopoulos’ work utilizing video projections in a variety of exterior sites. Since the 1970s he has projected on buildings, landscapes, and composed environmental situations. Imagery from this site reminds us of our real-time assessment of time and space. His use of soft-focussed photography alludes to the relativity of time and position of the viewer, while maintaining a sense of location. The sense imagery of this location is illustrated via an impressionistic, kinetic, real-time experience. One can sense the imagery’s connection to the site without a literal identity connected to each image. The color, light and patterns never repeat, but still have a resonance of this location.
The screen format works stand as illustration of the interconnected component of Tzanetopoulos’ use of plaids and tartan patterning. Matrixes of TVs, monitors and microfiche employ scanning and represent the looming of a 4-dimensional artifact of cultural geometry. This is very evident in the typed typewriter series of pieces where the literal joins the binary into a cultural mechanical manifestation.
These artifacts (microfiche, televisions, etc.) further the continuing theme of technology utilized in the concurrent Plaid and Typewriter Series: the encoding, storage, re-assimilation and understanding of information. These criteria refine and objectify these objects, distilling them and guiding Tzanetopoulos to decide what kind of information they would impart, and in what scale. These archetypal objects allude to analysis, tracking multi-dimensional conceptual strains using obviously two-dimensional lateral “x” and “y” axes. By using archetypal human mechanical devices, traditionally applied toward information storage and lineal accessibility, these pieces hold clues relative to their reason for being.