The Prisoner Inside Your Soul
Creators: name: Gombos, Atila
Publisher: name: figshare
Year: 2020
Subjects: subject: 190502 Fine Arts (incl. Sculpture and Painting)
subject: FOS: Arts (arts, history of arts, performing arts, music)
subject: FOS: Arts (arts, history of arts, performing arts, music)
subject: Art
subject: 190102 Art History

description: <b>Hypotesy</b><b><br></b>The status of the image in postmodernity is, paradoxically, almost outlawed. The image has largely lost its character of representation (in relation to an original from which to claim), thus suffering a real ontological collapse.<b><br></b><b><br></b><b>Methodology and techniques</b><br>Given the substrate of the concept, taking into account all the premises described in the introduction of the paper, I opted for the low-key photographic technique using a dark background and the application of black pigment on the subjects' bodies. Any other color of dark shade could have been used, but black was chosen to accentuate the symbolism of the work also described in the adjacent chapter.<br>In the first stage, the appropriate pigment to be applied was sought and tested, being tested on the skin of the author of the paper. The necessary precautions have been taken to test whether the paint has the potential to trigger a major allergic reaction (especially since it was to be applied to the entire upper half of the body) or any other side effect that could endanger the health of the subjects. <br>At the same time it was necessary to take into account the desired effect. Pigments in powder form do not reflect light at all, so the idea of ​​using them was abandoned from the start, given that we wanted to highlight the graphic contours of the flashes used. <br>Liquid latex was also removed from the discussion after consulting a dermatologist, the main concern being that the skin cannot breathe if it is covered with multiple layers of liquid latex (it is necessary to apply several layers to avoid skin transparency) but also because, after drying, it tends to become very sticky and we needed various hypostases in which the subjects were glued to each other.<br>The most likely solution was the result of an experiment: mixing acrylic paint with moisturizer based on essential phospholipids. The acrylic paint applied as such proved to be, after drying, very unsuitable for the purpose because it comes off the skin easily; In conclusion, its mixture was tested with various amounts of cream to facilitate adhesion, color uniformity and give it a slightly shiny appearance after drying. The mixture thus obtained was applied with brushes of different sizes, sponges, and in harder to reach areas (nose, ears, eyelids) using an airbrush.<br>In the second stage, sufficiently large pieces of plexiglass were purchased that could be used for some frames. Then the whole process of the subjects to be painted was explained and they were asked for written consent to certify that they agree with the photographic technique used and to waive any claims related to the exposure and use of the final photographs.<br>The photos were taken in a private studio that provided all the necessary conditions for applying the paint, conducting photo shoots and removing the paint in hygienic conditions. For the frames in the last triptych, plexiglass was used together with a piece of black cardboard to give the desired impression of the lack of the body. <br>A 36 MP full frame digital camera, various lenses, wirelessly controlled dedicated studio lights and reflective blinds were used. The camera was permanently connected to a computer to view in real time the results obtained, the clarity of the images and their histogram. The exposure meter was also used to set the camera accurately.<br><b>Conclusion</b><br>As a reference to the trinity and ternary as true numerological mythologies, and metaphysical reverberations for the images proposed as an emblem of the precariousness, superficiality and drama of the dissolution of sentimental-affective ties in the contemporary world. Even if it does not propose solutions for this cultural-spiritual crisis, this paper wants to be a faithful chronicler in an empathic and original way from the perspective of the chosen photographic techniques of this process that deeply marks any man of today's liquid, post-factual society.