Reisig and Taylor

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Reisig and Taylor

Animated through an assemblage of analog, digital, and lenticular photographic technologies, these selections from Reisig and Taylor’s Lenticular (3D) Collage reshape familiar images from the artists’ canon, transforming the power of the original photographs and the iconic figures they present through intoxicating re-presentations. One such iconic figure captured in the artists’ oeuvre, Tupac Shakur, appears alongside the lenticular pieces in a black and white series as a reminder of the persistent authority of popular icons, while implicitly demonstrating the breadth and depth of the artists’ work and their capacity to translate an individual image into a cultural artifact. However, the artists are not only interested in the power of individual figures or individual images which permeate their body of work; Reisig and Taylor’s Lenticular (3D) Collage exemplifies and amplifies the evolution of their art, fusing a multiplicity of images and reimagining the space of photography through digital collage and lenticular technology. 

By interweaving and overlaying an amalgam of proprietary and appropriated images, the artists create digital collages that blend photographs from their original canon of work with collected and constructed content. Combining at least two distinct images (but often more) through digital interlacing, the collages are formed for lenticular printing through a precise arrangement of each image into slices or strips, which, through the interlacing process, are seamlessly spliced with an/other similarly arranged images. The lenticular print is then carefully applied to the lenticular lens so that the spliced strips or interlaces of the image are perfectly aligned with each strip of lens on the corrugated surface of the lens, creating the 3D effect of the lenticular by refracting the light reflected off the work into different directions from each perspective angle. 

The lenticular pieces collected here are particularly forceful in the way in which they antagonistically arrange the space of the body or multiple bodies in urban- architectural sites, merging contradictory images and sensations: isolation and population, decrepitude and grandeur. With The Catwalk, this antagonism plays-out in the tension between the elegant and bold posture of the black fashion model against the spectral image of the old white man—both bodies emerging on a single, but somehow disjointed, plane in an urban alleyway. Similarly, Cuba Ness strikes on contradictory sensations in the discordance between the sensual, lively body in the foreground and the desolate isolation of the run-down building (and yet even this sense of isolation is polluted by an errant population of cats). It is precisely this antagonism or tension between contradictory or oppositional forms and forces that sustains the frenetic energy of the lenticular collages, both in terms of the aesthetic or conceptual content and the material processes through which the works are rendered.

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