BIENAL DE ARTE LATINOAMERICANO DEL BRONX 2008

COLOUR + QUALITY + IMPACT + STYLE + MESSAGE + DETAIL + BEAUTY + POWER

michael silversthe art, design and illustration of John Michael Silvers Godoy

BIENAL DE ARTE LATINOAMERICANO DEL

BRONX 2008

Participation documents:Panorama pictures

graphic designprint technologyintegrated designillustrationdigital imagingvisual artsphotography

San Gabriel OE7-110Quito, Ecuador

+593 2 2441710 [email protected]

[email protected]

skype: michaelsilvers


michaelsilvers

the art, design and illustration of John Michael Silvers Godoy

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BIENAL DE ARTE LATINOAMERICANO DEL BRONX 2008

Curators: Alexis Mendoza Miguel Lescano Luis Stephenberg

Bienal Latinoamericana del Bronx 2008 3 Fordham Hill Suite 3H Bronx NY 10468 E-mail [email protected] Dear Alexis, Miguel and Luis:

Many thanks for the invitation to participate in the Bienal de Arte Latinoamericano del Bronx 2008.

My family and I have moved from England to Germany end of June and will be going on to Ecuador in two weeks time. This made it impossible for me to access your letters before the 13th of July.

The information form open to all artists arrived to me on the 17th of July. I have noticed that therefore I already missed the deadlines for delivery of artwork information and images for selection. It took me nearly one month to prepare and finish the artworks that are being sent.

For that reason, I kindly request the possibility of a late entrance, and the late acceptance of the artworks. Their information forms follow this letter, together with compressed files of the works.

I will call you on Wednesday 6th, August 2008, to enquire about this subject. Please return an e-mail when you have read this letter.

Yours faithfully,

Michael Silvers.cont. next p. >




[email protected]



michaelsilvers


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< cont. from last p.

PD:

As a painter, illustrator and designer, I do not use photography as my main technique of work. I use my computer and my brushes. But now, because of living without a home, a workshop or means to produce in other techniques, I have resolved to go out and shoot with my little pocket camera as much as I can, and then churn them digitally.

At the moment all the works are in digital format. Sponsorship to print the images is currently being sought.I would like to discuss the possibility of projecting the artworks as an alternative way of exhibiting the material.

Yours,

Michael Silvers




[email protected]



michaelsilvers


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PARTICIPATION FORM

NAMES: JOHN MICHAEL

SURNAMES: SILVERS GODOY

ADDRESS: SAN GABRIEL OE7-110.

CITY: QUITO

COUNTRY: ECUADOR

TELEPHONE: +593 2 2441710

SKYPE: michaelsilvers

EMAIL: [email protected] [email protected]

WEB PAGE: www.msilvers.com




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michaelsilvers


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CONCEPT

Panorama pictures are a bi-dimensional record of a 3D reality where the whole environment is important, and therefore must be shown.

The equipment to obtain this type of images is highly specialized and expensive, therefore difficult to reach with modest resources. Although the images created with this equipment can look spectacular, they would not allow large format printing, as the resolution limitation becomes evident the bigger it gets. There is still no digital camera that could manage ultra high resolutions (UHR). We could use large format negative films and cameras, and very wide view angle lenses. Yet, even so there is always going to be a limitation of resolution, because it is done in one single shot.

The resolution of images obtained by collage stitching of photographs can in theory grow infinitely, even when using a simple little pocket camera, as I do. Also called Segmented Panoramic, it is the technique to build very wide angle images by carefully overlaping them, and blending their edges as to make them virtually seamless. The limitations to make them are time, patience, software, and the capacity of the computer to manage large files. They also will never look perfectly seamless and cannot capture any large moving subject. Missing gaps will appear, which could be a disturbance unless considered part of the work. The digital work requires skilful processing, thorough knowledge of the software and a powerful machine. But it also requires the ability to paint. Each image is realistic, but not pure reality: painting and composing is not commanded by the image, but by y the one who processes it.

I started taking an interest in Panorama Pictures when wanting to satisfy the needs of high resolution for large format printing, detail of information, and to capture happenings of the surrounding environment. I try to compose each image arbitrary to the original environment so as to enhance something specific. The centre of the image is not always the point of interest, especially when I feel more attracted to the warped curves in the corners of the image. My inclination for realism demands that the image must be credible. Yet the repeated appearance of figures intentionally tells that a collage is made, and that fictitious twins and triplets increase my intention to tell a story behind them: what are they doing there?




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michaelsilvers


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My Panorama Pictures are emotional and relate to my experiences. In this exhibition I use them as my stronghold of whatever is humane, tender and innocent, whatever I need to save in my memory so as not to go crazy and collapse in the mess of my life. For that reason I have chosen my daughter as the symbol to represent everything that feels like HOME and IDENTITY. Her presence in these pictures was not casual, but neither planned.

REALISM in my images is also expressed through visual tricks that are impossible in nature, but hold their essence. What panorama pictures of ultra high resolution allow, is to present a map of features with extensive detail that can be studied carefully, with time, segmented, or as a whole. They transmit a moment frozen in time and space far better that any other media. The viewer is invited to enter and participate in this moment and space, giving them liberty to choose the order of reading the image, and to pause or forward at will.

It is possible to understand the final image as a deconstructed-reconstructed piece, passing through several filters:

• Physical - the time/space of capture; • Technological - the camera and digital conversion; • Personal - craft manipulation/emotional rearrangement.

The exploration panoramic imaging is growing all the time. Even being almost as old as photography itself, and being used in fine arts for centuries, it has hit the internet as a great wave. Anybody can make panorama images. There are panorama photographs of almost every geographical attraction in the world.

Digital panoramas started around a decade ago, made by photographers, engineers and artists around the globe for many different applications. It still remains elitist, due to its cost and/or being extreme time consuming. It has its limitations, and is technologically dependent. There is still a great deal to be expected in this field. Time will favour the patient user.

Michael SilversSummer 2008




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michaelsilvers


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* * *

Homeless of nation, homeless of home.Where is our home? Where our love lies!

My symbol of home and love ismy daughter, my family.

It is also in some memories:of experiences,

of the departed beloved ones.My grandpa used to say that home is

where we are happy.

I’m not happy, I’m in deep

shit!and I don’t care aboutexposing my intimacy.

I want everybody to know I failed, somehow.

But I am not defeated.

* * *

Michael Silvers




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michaelsilvers


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* * *

History and heritage,both form part of homeyness.

Oh! I would so much like to be there again.That’s why I make my giant pictures.

Places represented in 360o, the way my memory recalls a place.

If I somehow could make them smell like then...

have the humidity and temperature and sound.If

I could use 3D goggles(that would be another project...)

Our family photos, in a monumental scale.The resolution being as high as possible, as a

metaphor of the intrinsic complexity

and saturation of information in the ‘real’ reality,

opposite to that simplified

and synthesised memory unit of it.

* * *

Michael Silvers




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ARTWORKS TO BE PRESENTED

TITLE OF EXHIBITION:

“Family souvenirs during times of financial destitution”

DESCRIPTION:

During Spring 2008 my family and I were very fortunate to be invited to participate in a luxurious holiday trip to Florida - USA, the East Caribbean Islands, and Ecuador. There we made some of the sweetest and happiest moments of our lives, full of love, laughter, peace, beauty and pampering treats.

During Summer 2008 my family and I had to endure and suffer one of the hardest times in our lives: we were forced to abandon our home, town and country. After living in England for five years, where we worked, made friends, saw our children grow, fallen in love with the lifestyle and environment, made this nation our homeland, and be-came - at least partly - British in soul; we faced prolonged unemploy-ment, poverty, and finally, bankruptcy. Without enough money to pay the basic needs, we had to emigrate and look for help in another coun-try, where my children and wife were born: Germany. Our situation worsened even more...

Now dispossessed, homeless, destitute and regarded as a nuisance, we are living by the minute, in distress, frustration, sadness and fear. We see our children grow in restlessness and disorientation, we see their nerves collapse, and we are unable to soothe their tears. We have to move again, seeking ‘asylum’ back in Latin America, back in Ecuador.




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INSTALLATION 1

“Journey through heritage and politics, luxury cruises and financial asylum”.

Also journeys through sour and happy moments, angst and love, impotence and hope. These family photos capture two completely opposite state of realities.

CONTENTS:

Two panorama pictures in large format.

ARRANGEMENT:

Ideally placed on the walls of a 90o corner of an exhibition room, each at eye level, 100 cm away from the edge of the corner, Picture 1 on the left, Picture 2 on the right. If this is not possible, then in a corridor, one in front of the other, at eye level.




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PICTURE 1:

Fuerte San Felipe del Morro, San Juan, Puerto Rico. 360o panorama view from one of the terraces, to de city, the harbour and the bay be-yond. Spring 2008.

TECHNIQUES USED:

PHOTOGRAPHY: Tevion 5Mp digital pocket camera, zoom 1X (28mm), automatic exposure. 27 pictures. Time elapsed: 6 min.

DIGITAL MIXED MEDIA: photo collage, digital stitching, warp ma-nipulation, digital painting, vector structure mapping, colour and light edition.

DIGITAL SIZE: 18,252 X 3,799 pixels (69.3Mp). Psd format: 196.3 Mb

PRINT: Digital Inkjet on Canvass.

PHYSICAL SIZE: Image: 300 X 62.44 cm @ 154.534 pixels/inch.

CANVASS: 340 X 102.44 cm. SALE INSTRUCTIONS: Sealed envelope with price offer and full con-tact details of buyer. The work will be sold to the highest bidder. Start price: $1,200.00 USD




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PICTURE 2:

The Reichstag, Berlin, Germany. 360o panorama view of the Tiergar-ten, surrounded by the government buildings. Summer 2008.

TECHNIQUES USED:

PHOTOGRAPHY: Tevion 5Mp digital pocket camera, zoom 1X (28mm), automatic exposure. 25 pictures. Time elapsed: 15 min.



PRINT: Digital Inkjet on synthetic canvass.

PHYSICAL SIZE: Image: 300 X 60.35 cm @ 157.319 pixels/inch.

CANVASS: 340 X 100.35 cm.

SALE INSTRUCTIONS: Sealed envelope with price offer and full con-tact details of buyer. The work will be sold to the highest bidder. Start price: $1,200.00 USD




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michaelsilvers


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INSTALATION 2

England could have been our home forever... Bye bye lovely England!

We wish we could have stayed.

CONTENTS:

One panorama picture in large format, one portrait painting in me-dium format, one white feather, one old flower.

ARRANGEMENT:

Ideally placed on the walls of a 90o corner of an exhibition room, each at eye level, 100 cm away from the edge of the corner, Panorama Pic-ture on the left, Portrait Painting on the right. Feather attached with cello-tape to the wall just besides the label of the Panorama Picture. Flower attached with cello-tape to the wall just besides de Portrait Painting. If this is not possible, then on a plane wall, one besides the other, in the same order as if hanged on the corner, only the distance between pictures must be 100 cm.




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PANORAMA PICTURE:

Staged representation of the beautiful Ornamental Palladian Bridge in Prior Park Landscape Garden, Bath, England. Early Summer 2008.

TECHNIQUES USED: PHOTOGRAPHY: Tevion 5Mp digital pocket camera, zoom 1X (28mm), automatic exposure. 77 pictures. Time elapsed: 30 min.


DIGITAL SIZE: 23,040 X 10,205 pixels (235.1Mp). Psb format: 634.9 Mb

PRINT: Digital Inkjet on synthetic canvass.

PHYSICAL SIZE: Image: 380 X 168.31cm @ 154 pixels/inch.

CANVASS: 420 X 208.31 cm.




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SALE INSTRUCTIONS: Closed sealed envelope with price offer and full contact details of buyer. The work will be sold to the highest bid-der. Start price: $2,000.00 USD

PORTRAIT PAINTING:

Portrait of my daughter Lucienne. Cornwall, England. Winter 2006/2007

TECHNIQUES USED:

PHOTOGRAPHY: Tevion 5mp digital pocket camera, zoom 1X (28 mm), automatic exposure. 1 picture.

DIGITAL MIXED MEDIA: colour and light edition, digital painting.Traditional media: Acrylic on Canvass.

SIZE: 50 X 50 cm

SALE INSTRUCTIONS: NOT for sale. Belongs to the private collec-tion of the artist.




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PRINTING INSTRUCTIONS

GENERAL INFORMATION:

The exhibition has 3 large printed images. They all will be printed on the same material with the following characteristics: • strong, sturdy surface, • fine grain - smooth• resistant to tear, punch, poke, deform. • flexible, • easy to roll up, • does not wrinkle. • light weight, • resistant to humidity, sunlight, wind and rain• UV resistant• Long life (50 years +)

The print should be:• Very high resolution (more than 600 ppi)• RIP of great capabilities, able to process large formats at high resolution (min 60 Megapixels at 200 dpi)• Dot without diffusion or shadow (depending on material)• Impecable printing (no stripes, fadings, undersaturation/over-saturation in regions, patterns, moire, no loss of colour)

The ink should be:• Very intense colours.• water-resitant• UV resistant• Stratch resistant• Guaranteed long life (50 years +)




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PICTURE 1:

Fuerte San Felipe del Morro, San Juan, Puerto Rico.


FORMAT TO BE DELIVERED FOR PRINT: png and pdf (not jpg)

PRINT PROCESS: Digital Inkjet on Canvass @ max. resolution. please do not convert image to jpg before printing. it must be in original format to preserve depth of colour.

PHYSICAL SIZE OF IMAGE: 300 X 62.44 cm @ 154.534 pixels/inch.

PHYSICAL SIZE OF CANVASS: 340 X 102.44 cm.

FINISHING OF PRINT PROCESS: Transparent seal (printed or laminated) un-less ink is guaranteed scratch resistant.

FINISHING OF CANVASS: • Edges trimmed and sealed. • Perforations protected by metal rings evenly distributed away from the edges 2cm. Perforations must be: 1 (ONE) on every edge, and 3 (three) evenly distributed on the long sides (see diagram below): 1 middle of length, 1 at 1/4 of length, 1 at 3/4 of length.

PICTURE HERE. CENTERED. SCALE 100 % : 300 X 62.44 cm @ 154.534 pixels/inch.

Holes here. evenly distributed.





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PICTURE 2:

The Reichstag, Berlin, Germany.




PHYSICAL SIZE OF IMAGE: 300 X 60.35 cm @ 157.319 pixels/inch.



FINISHING OF CANVASS: • Edges trimmed and sealed. • Perforations protected by metal rings evenly distributed away from the edges 2cm. Perforations must be: 1 (ONE) on every edge, and 3 (three) evenly distributed on the long sides (see diagram below): 1 middle of length, 1 at 1/4 of length, 1 at 3/4 of length.

PICTURE HERE. CENTERED. SCALE 100 % : 300 X 60.35 cm @ 157.319 pixels/inch






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PICTURE 3:

Ornamental Palladian Bridge in Prior Park Landscape Garden, Bath, England

DIGITAL SIZE: 23,040 X 10,205 pixels (235.1Mp). Psb format: 634.9 Mb



PHYSICAL SIZE OF IMAGE: 380 X 168.31cm @ 154 pixels/inch.



FINISHING OF CANVASS: • Edges trimmed and sealed. • Perforations protected by metal rings evenly distributed away from the edges 2cm. Perforations must be: 1 (ONE) on every edge, and 3 (three) evenly distributed on the long sides (see diagram next page): 1 middle of length, 1 at 1/4 of length, 1 at 3/4 of length.




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PANORAMA PICTURE (diagram):

PICTURE HERE. CENTERED. SCALE 100 % : 300 X 62.44 cm @ 154.534 pixels/inch.



Michael Silversseptiembre-noviembre 2008BIENAL DE ARTE LATINOAMERICANO DEL BRONX 2008

BIENAL DE ARTE LATINOAMERICANO DEL BRONX 2008

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