unique permanence

Lenticulars, like holograms, are impossible to copy.  Unless you have the source images, there is no reproducing them, there is no forgery possible.  Also, once they are printed, they are relatively unique and ephemeral.  The algorithms change over time in the software used, the inks, the registration of the image, the printer used, it is all changes over time.  Meaning that in terms of one-of-a-kind art, it beats both straight photography and painting for original, non-reproducible art.  It is the reason that holograms are used on credit cards or currency – you can’t beat it.  You might be able to come close to reproducing a Picasso or an Ansel Adams photograph in the future, but you will not be able to reproduce the many algorithms of manipulation and the physical realization of that digital work in the same way that my lenticulars are produced.  I am challenged to do it myself and I know roughly the steps of how I arrived at a series of images.

The principal challenge for me with the medium was arriving at archival work (there were others but I think this was the one I had the hardest time controlling for).  The key was printing direct to lens.  The vast majority of printers will use lamination techniques to affix a printed image to the lens and despite using optical adhesives, archival inks, and synthetic printing surfaces – the risk of silvering, delamination, “bubbles,” and irregularities in even the most controlled circumstances was a consistent challenge.  I spent many tens of thousands of dollars and went through very elaborate workarounds and techniques to handle and modify the resulting lenticulars from a number of printers, all skilled professionals doing their level best to produce archival work.  Of course the number of printers doing direct to lens printing is limited and producing a fine high resolution image is challenging and expensive and involves greater lead times.  It is however an absolute necessity to consistently producing art that will last for generations, and that is, in my estimation, still a critical measure for fine art.

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