For the “isometric” portraits, slides 1 and 2, he sketched an isometric grid on his subject, photographed every single triangle, and stitched the images together like a topography of the face, “like when you look at the map from a globe flattened out,” he says. The drop should only be doing the job of refracting the face so that the captured image looks just like it was distorted in Photoshop.” He then adds a sense of viscousness by coating the print in a thick resin.Īcross the series, Leonard’s going through exhaustive physical lengths, making thousands of exposures to replicate the effect of tools that were meant to simplify and cut out all that labor. “The goal is to light the subject as flatly as possible so that nothing reflects on the surface of the water. For the more complicated patterns, he uses a special hydrophobic spray to mask the water into place.
“I made kind of a secondary lens, but of water,” Leonard says, by dripping on a plane of glass suspended over the subject laying on the floor. The portraits on slides 3 through 8 for instance, aside from the cropping, were all done in-camera. “I’ll start with learning a new digital technique, some 3-D processes, and I’ll try to work backwards and reconstruct it,” he says. © Rollin Leonardįor this latest series, Leonard has to some degree inverted his process and began creating physical analogues of the glitchy, low poly, and fluid sinusoidal post-processing forms commonly associated with the internet aesthetic. Process image for Freeform Water Portraits, 2014. He also diminishes the evidence of it being a photo by minimizing any bokeh or depth of field through focus stacking techniques.
Among them is his disregard for the photographic frame and its compositional concerns-his figures usually float in the white space that bleeds throughout our web browsers. “There are tons of examples that separate me from the tradition of picture-making,” he tells American Photo. Photography has been the main means of cultivating the raw material for his artwork, though he has always worked on the periphery of the medium. Over the last decade, Leonard, a Maine-based digital artist, has been photographing the human form in extreme detail, from exhaustive angles to animate it into art for online exhibition. They are portraits: a single sitter for each, named after the subject, bearing identifying markers such as scars, makeup, and piercings, but in varying degrees, approaching total abstraction. These are installation images of the sculptural photographic works in Rollin Leonard‘s latest exhibition “New Portraiture,” now on view at Brooklyn’s net art-focused Transfer Gallery. © Rollin LeonardĬontrary to what the brain and eyes might conspire to think, these images were made with virtually no digital manipulation in the traditional sense of the practice-no pixilating filters, no liquefy tool, and no Photoshopped distortion is responsible for creating the impression of a third dimension. © Rollin Leonard Derek (Giant), 2014-2015 Photograph printed on vinyl, mounted to Mylar. Photograph printed on vinyl, mounted to Mylar. © Rollin Leonard Derek (Giant), 2014-2015 Detail. Image shows a variety of installations of the same work. © Rollin Leonard Lilia (Giant Head), 2014-2015 Photograph printed on vinyl, mounted to Mylar. © Rollin Leonard Rainbow 2 of 28, 2015 Photographic wall-mounted sculpture made of resin. © Rollin Leonard Rainbow 14 of 28, 2015 Photographic wall-mounted sculpture made of resin. © Rollin Leonard Derek (Water Portrait) 1, 2015 Photographic wall-mounted sculpture made of resin. Faces are photographed through an irregular lens made of water. © Rollin Leonard Mud Puddle, 2015 Looping video. Photographic wall-mounted sculptures made of resin. © Rollin Leonard Freeform Water Portraits, 2014-2015 437 individual pieces. © Rollin Leonard Lilia (Giant Head), 2014-2015 Folded paper.
Savannah, Isometric, 2014-2015 Folded paper.
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