The body of work in Charlie Kitchen's exhibition, New Work, was exposed on a road to Colorado from San Antonio using a large format camera to test the flatness of the photographic image through a form of in-camera collage. The first facet of the process involved cutting specialized film masks that replicate the dark slide inside the film holder. These masks are cut from black paper in conjunction with templates generated through a 3D modeling program.
After removing the dark slide, the masks are inserted into the camera, and the cut out shapes are exposed onto the film when the shutter is released. The result of the exposures is a multiple-exposure work that compiles two forms of representation onto one piece of film. While this happens in-camera, another layer of representation is added with the fabric on which the image is printed.
Through the physical manipulation of analog and digital processes - deliberately intervening with the exposure in-camera that allows for the dissection of each sheet of film and while the artist constructs each image before shooting - Kitchen's practice allows him to test the qualities of flatness and space within a photograph. The result is a process that offers a way to explore what he calls the "pseudo scientific analysis of the fundamental qualities of photography."
The body of work in Charlie Kitchen's exhibition, New Work, was exposed on a road to Colorado from San Antonio using a large format camera to test the flatness of the photographic image through a form of in-camera collage. The first facet of the process involved cutting specialized film masks that replicate the dark slide inside the film holder. These masks are cut from black paper in conjunction with templates generated through a 3D modeling program.
After removing the dark slide, the masks are inserted into the camera, and the cut out shapes are exposed onto the film when the shutter is released. The result of the exposures is a multiple-exposure work that compiles two forms of representation onto one piece of film. While this happens in-camera, another layer of representation is added with the fabric on which the image is printed.
Through the physical manipulation of analog and digital processes - deliberately intervening with the exposure in-camera that allows for the dissection of each sheet of film and while the artist constructs each image before shooting - Kitchen's practice allows him to test the qualities of flatness and space within a photograph. The result is a process that offers a way to explore what he calls the "pseudo scientific analysis of the fundamental qualities of photography."
The body of work in Charlie Kitchen's exhibition, New Work, was exposed on a road to Colorado from San Antonio using a large format camera to test the flatness of the photographic image through a form of in-camera collage. The first facet of the process involved cutting specialized film masks that replicate the dark slide inside the film holder. These masks are cut from black paper in conjunction with templates generated through a 3D modeling program.
After removing the dark slide, the masks are inserted into the camera, and the cut out shapes are exposed onto the film when the shutter is released. The result of the exposures is a multiple-exposure work that compiles two forms of representation onto one piece of film. While this happens in-camera, another layer of representation is added with the fabric on which the image is printed.
Through the physical manipulation of analog and digital processes - deliberately intervening with the exposure in-camera that allows for the dissection of each sheet of film and while the artist constructs each image before shooting - Kitchen's practice allows him to test the qualities of flatness and space within a photograph. The result is a process that offers a way to explore what he calls the "pseudo scientific analysis of the fundamental qualities of photography."
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