Recent Changes - Search:



WORKS.描かれた人 History

Hide minor edits - Show changes to markup

February 23, 2011, at 03:24 AM by Toyoshima Yasuko -
Changed lines 23-24 from:



to:


Changed lines 26-27 from:



to:


Changed line 29 from:

\\\

to:

\\

Changed lines 32-46 from:

素材: 容疑者の似顔絵のデータ。犯罪の記録。と描かれた犯人

行為: 卑近な心象が、ある時点を契機に反社会化し、それが要因で表現された形の実例を作品のフレームとします

展示方法:

素材の意味: 「容疑者の似顔絵」を私たちの在り方の雛形として扱います。

行為の意味: この犯罪の実行犯を表す為に現れた「表現」方法。

\\\

to:
Changed line 36 from:

Copyright © 2009 TOYOSHIMA Yasuko. All rights reserved.\\

to:

Copyright © 2011 TOYOSHIMA Yasuko. All rights reserved.\\

Changed line 45 from:

For the purpose of hearing and getting information from witnesses, police officers have been trained to make/ construct portraits of suspect faces on "wanted" posters to show to the public with the aim of asking people 'do you know who this is ?/Do you know where is he/she? '\\

to:

Police composite sketches of the faces of suspects are released to the public via posters or newspaper listings in order to cast a wider net of people who might be able to identify the suspects. The sketches are not meant to be artful or aesthetic but rendered for the primary purpose of providing the strongest possible likeness of people wanted. These sketches, even when not skillfully rendered, evoke a mysteriously realistic effect. Each suspect’s face is constructed from a collective viewpoint and the sketch is the intersection of the victim’s visual recollection of details and the police officer’s interpretation of the descriptions given. But the nature of the need to capture a likeness renders psychosocial what might purely be a physiognomic portrait. They have a strong presence and the implied notions of criminal behavior of otherwise nameless, unidentified people strip them of neutrality or absolute anonymity. \\

Changed line 47 from:

Living in Japan, in criminal cases, we can see such kinds of portrait in the newspaper.\\

to:

In Depicted People, I add a dimension to these constructions, in an attempt to view these individuals from another angle. Cutting the sketches from the newspaper as tools/motifs for this particular series, I reconstruct these portraits through a direct analogical approach of visualizing their ‘background’ by drawing their “invisible parts.” I render the invisible visible based on what has been made materially visible through the sketch. By selecting, gathering, and cutting and pasting small parts of the front of their faces/heads/hairs, I faked the back of their heads on my computer. The depicted invisible parts were fabricated from swatches of the visible parts.

Deleted lines 48-51:

The style of the portrait is neither well trained nor aesthetic. However, they give us a strong presence, and make a mysteriously realistic impact on us.
It is a 'face of suspect', constructed from a collective viewpoint.
I wanted see another side of them, meaning I wanted see their background.
My will would be transferred into less of a trivial approach:\\

Changed lines 50-51 from:

Visualizing their 'background', I could try to make their sides/heads/faces symbolically, by a direct analogical approach.\\

to:
Changed lines 53-54 from:

I cut the portraits out from the newspaper, as a motif/ tool for my artworks and as a drawing for 'visualizing their 'background' and 'drawing invisible parts'. I try to represent a 'drawing of invisible parts by taking the visible contents'.\\

to:
Changed lines 56-57 from:

On the PC screen, just by selecting, gathering and cutting small parts of the front of their faces/heads/hairs, I faked the back of their heads by just copying and pasting.\\

to:
Deleted lines 58-67:
Added lines 62-63:


Changed line 65 from:

Copyright © 2009 TOYOSHIMA Yasuko. All rights reserved.\\

to:

Copyright © 2011 TOYOSHIMA Yasuko. All rights reserved.\\

Changed lines 67-69 from:
to:
April 14, 2010, at 02:53 PM by Toyoshima Yasuko -
Changed line 19 from:

見えない領域を、見えている部分ので寄せ集めで構成する。\\

to:

見えない領域を、見えている部分の寄せ集めで構成する。\\

Changed line 58 from:

For the purpose of hearing and getting information from witnesses, police officers have been trained to make/ construct portraits of criminal faces on "wanted" posters to show to the public with the aim of asking people 'do you know who this is ?'\\

to:

For the purpose of hearing and getting information from witnesses, police officers have been trained to make/ construct portraits of suspect faces on "wanted" posters to show to the public with the aim of asking people 'do you know who this is ?/Do you know where is he/she? '\\

Changed lines 62-63 from:

The style of the portrait is neither well trained nor aesthetic. However, they give us a strong presence, and make a mysteriously realistic impact on us.
It is a 'face of crime', constructed from a collective viewpoint.\\

to:

The style of the portrait is neither well trained nor aesthetic. However, they give us a strong presence, and make a mysteriously realistic impact on us.
It is a 'face of suspect', constructed from a collective viewpoint.\\

Added line 91:
April 11, 2010, at 08:43 PM by Toyoshima Yasuko -
Changed line 19 from:

見えない領域を、見えている部分の合成で構成する。\\

to:

見えない領域を、見えている部分ので寄せ集めで構成する。\\

March 16, 2010, at 10:06 PM by Toyoshima Yasuko -
Changed line 62 from:

The style of the portrait is neither well trained nor altruistic. However, they give us a strong presence, and make a mysteriously realistic impact on us.\\

to:

The style of the portrait is neither well trained nor aesthetic. However, they give us a strong presence, and make a mysteriously realistic impact on us.\\

March 16, 2010, at 09:55 PM by Toyoshima Yasuko -
Added lines 56-58:

For the purpose of hearing and getting information from witnesses, police officers have been trained to make/ construct portraits of criminal faces on "wanted" posters to show to the public with the aim of asking people 'do you know who this is ?'\\

Deleted lines 59-60:

For the purpose of hearing and getting information from witnesses, police officers have been trained to make/ construct portraits of criminal faces on "wanted" posters to show to the public with the aim of asking people 'do you know who this is ?'
\\

March 16, 2010, at 09:55 PM by Toyoshima Yasuko -
Changed lines 56-73 from:
to:


For the purpose of hearing and getting information from witnesses, police officers have been trained to make/ construct portraits of criminal faces on "wanted" posters to show to the public with the aim of asking people 'do you know who this is ?'

Living in Japan, in criminal cases, we can see such kinds of portrait in the newspaper.

The style of the portrait is neither well trained nor altruistic. However, they give us a strong presence, and make a mysteriously realistic impact on us.
It is a 'face of crime', constructed from a collective viewpoint.
I wanted see another side of them, meaning I wanted see their background.
My will would be transferred into less of a trivial approach:

Visualizing their 'background', I could try to make their sides/heads/faces symbolically, by a direct analogical approach.

I cut the portraits out from the newspaper, as a motif/ tool for my artworks and as a drawing for 'visualizing their 'background' and 'drawing invisible parts'. I try to represent a 'drawing of invisible parts by taking the visible contents'.

On the PC screen, just by selecting, gathering and cutting small parts of the front of their faces/heads/hairs, I faked the back of their heads by just copying and pasting.

The depicted invisible parts were fabricated / invented by the depicted visible parts.
\\

November 06, 2009, at 10:38 PM by Toyoshima Yasuko -
Deleted lines 9-11:


Changed line 56 from:

\\

to:
November 06, 2009, at 10:38 PM by Toyoshima Yasuko -
Changed line 24 from:

\\

to:
Deleted lines 58-59:
Deleted lines 59-71:

素材:容疑者の似顔絵のデータ。新聞紙上に載った描かれた犯人の似顔絵と犯罪の内容。
描かれた犯罪者の似顔絵、真正面の図の部分の合成で背面を造る。見えない部分は見える部分の合成で補われている(捏造)されている。

展示方法:引用元の新聞紙のサイズを作品の台紙(背景)のサイズをする。壁に貼る。
素材の意味:「容疑者の似顔絵」を私たちの在り方の雛形として。
行為の意味:この犯罪の実行犯を捉える為の「再現」方法を、「表現」の方法と繋げる。
新聞に掲載された犯罪容疑者の似顔絵。
その顔正面の「部分」から顔の後ろ向きの「全体」をコラージュ。
見えない領域を、見えている部分の合成で構成する。

\\

Changed lines 70-83 from:

素材: 容疑者の似顔絵のデータ。犯罪の記録。と描かれた犯人

行為: 卑近な心象が、ある時点を契機に反社会化し、それが要因で表現された形の実例を作品のフレームとします

展示方法:

素材の意味: 「容疑者の似顔絵」を私たちの在り方の雛形として扱います。

行為の意味: この犯罪の実行犯を表す為に現れた「表現」方法。

to:
July 03, 2009, at 10:00 PM by Toyoshima Yasuko -
Changed lines 50-51 from:
to:



Copyright © 2009 TOYOSHIMA Yasuko. All rights reserved.
無断転載を禁止します。

Changed lines 98-101 from:
to:



Copyright © 2009 TOYOSHIMA Yasuko. All rights reserved.
無断転載を禁止します。\\

February 21, 2009, at 03:18 PM by Toyoshima Yasuko -
Changed lines 1-10 from:

描かれた人 Depicted People (2001-)\\

to:
Changed lines 51-52 from:
to:
Added lines 53-95:
February 19, 2009, at 11:37 AM by Toyoshima Yasuko -
Added lines 25-39:

素材: 容疑者の似顔絵のデータ。犯罪の記録。と描かれた犯人

行為: 卑近な心象が、ある時点を契機に反社会化し、それが要因で表現された形の実例を作品のフレームとします

展示方法:

素材の意味: 「容疑者の似顔絵」を私たちの在り方の雛形として扱います。

行為の意味: この犯罪の実行犯を表す為に現れた「表現」方法。

February 15, 2009, at 10:12 PM by Toyoshima Yasuko -
Changed lines 3-5 from:

新聞に掲載された犯罪容疑者の似顔絵。
その顔正面の「部分」から顔の後ろ向きの「全体」をコラージュ。
見えない領域を、見えている部分の合成で構成する。\\

to:

素材:容疑者の似顔絵のデータ。新聞紙上に載った描かれた犯人の似顔絵と犯罪の内容。
描かれた犯罪者の似顔絵、真正面の図の部分の合成で背面を造る。見えない部分は見える部分の合成で補われている(捏造)されている。\\

Added lines 7-13:

展示方法:引用元の新聞紙のサイズを作品の台紙(背景)のサイズをする。壁に貼る。
素材の意味:「容疑者の似顔絵」を私たちの在り方の雛形として。
行為の意味:この犯罪の実行犯を捉える為の「再現」方法を、「表現」の方法と繋げる。
新聞に掲載された犯罪容疑者の似顔絵。
その顔正面の「部分」から顔の後ろ向きの「全体」をコラージュ。
見えない領域を、見えている部分の合成で構成する。\\

Added line 15:

\\

April 27, 2008, at 07:48 PM by Toyoshima Yasuko -
Changed line 1 from:

-描かれた人 Depicted People (2001-)-\\

to:

描かれた人 Depicted People (2001-)\\

April 26, 2008, at 06:02 PM by Toyoshima Yasuko -
Changed lines 19-23 from:
to:
October 21, 2007, at 06:05 PM by Toyoshima Yasuko -
Changed line 1 from:
to:

-描かれた人 Depicted People (2001-)-\\

October 21, 2007, at 06:05 PM by Toyoshima Yasuko -
Changed line 1 from:

描かれた人 Depicted People (2001-)\\

to:
October 21, 2007, at 06:05 PM by Toyoshima Yasuko -
Changed lines 2-7 from:
to:


新聞に掲載された犯罪容疑者の似顔絵。
その顔正面の「部分」から顔の後ろ向きの「全体」をコラージュ。
見えない領域を、見えている部分の合成で構成する。

\\

December 11, 2006, at 05:09 PM by Toyoshima Yasuko -
Changed lines 11-14 from:
to:
November 23, 2006, at 05:36 AM by Toyoshima Yasuko -
Added lines 1-11:
Edit - History - Print - Recent Changes - Search
Page last modified on February 23, 2011, at 03:24 AM