Hard to pick one for this project. Influences span from the photographers of the last century to contemporary matte-painting artist and pure graphic design agencies. For this work, I could name Fan Ho, a chinese photographer from the 60’s. His monochromatic work had a big impact on how I articulated and developed the project, especially, the way he composes intriguing scenes with a particular attention to the subject and depth of field.
I perceive that the montage is more of mental exercise rather than a final graphic outcome. Similarly to a dissertation, an effective image should include the reading of axes, within the montages are the simple expression of these notions. In my case it’s a triad; Traveler – Monument – Landscape.
The fastest and most effective way to picture an idea. In a world ruled by 3D visualization, I perceive this way of producing images as a conceptual refocus. But trends are cyclical, and I have no doubt that’ll slowly fade away; making room for the next one.
This project is divided into two phases, the first is the development of the project itself. The second phase is the re-discovery of this project because of the digital traveler.
This project is testament of the intriguing relationship each architect has to his early projects. One can easily see these digital paintings as memory postcards. Towers, as tokens of memory. Memories contemplated and contemplating, in a deep sea of layered foggy souvenirs.
I couldn’t say it better than the french poet Charles Baudelaire:
“Present time is reduced to a mathematical point, and even this mathematical point perishes a thousand times before we can affirm its birth. In the present everything is finite, and this finite is infinite in the velocity of its flight to the death. “
_ Charles Baudelaire, Les Paradis Artificiels, 1860