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Sylvia Grace Borda 20-02-2021
Sylvia Grace Borda, has created the first explorative artworks in Google Street view in partnership with John M. Lynch. Entitled 'Farm Tableaux', the series captures farmers in Surrey, B.C. (Canada) enacting a routine activity, but unlike conventionally staged photographs, the observer can explore these framed compositions within an interactive Google Street View landscape. These choreographed scenes enable notions of expanded cinema to be encountered by the online viewer. Borda tasked each of the TABLEAUX participants to stand motionless for periods of up to 30 minutes in order to be captured by Google cameras. In this way, Borda has cleverly reverse engineered photographic practices in which the slow exposures of 19th century photography resulted in studio sitters being propped up for several minutes to allow a portrait image to be recorded. The artist has staged her subjects so they become 3-dimensional portrait sitters caught in a glance by the camera in multiple viewpoints in space and time. The artist breaks with Sontag's notion of a singular frame to offer the viewer many viewpoints that are all available simultaneously in order to compose our own views, too.
Sylvia Grace Borda: , 20-02-2021, in: Archive of Digital Art Sylvia Grace Borda, has created the first explorative artworks in Google Street view in partnership with John M. Lynch. Entitled 'Farm Tableaux', the series captures farmers in Surrey, B.C. (Canada) enacting a routine activity, but unlike conventionally staged photographs, the observer can explore these framed compositions within an interactive Google Street View landscape. These choreographed scenes enable notions of expanded cinema to be encountered by the online viewer. Borda tasked each of the TABLEAUX participants to stand motionless for periods of up to 30 minutes in order to be captured by Google cameras. In this way, Borda has cleverly reverse engineered photographic practices in which the slow exposures of 19th century photography resulted in studio sitters being propped up for several minutes to allow a portrait image to be recorded. The artist has staged her subjects so they become 3-dimensional portrait sitters caught in a glance by the camera in multiple viewpoints in space and time. The artist breaks with Sontag's notion of a singular frame to offer the viewer many viewpoints that are all available simultaneously in order to compose our own views, too.
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