2 Loops is a collaborative project by two artists, Kennis Chan and Yu Ting Ong who are both interested in how an image is first created, becomes transformed and stripped of its authenticity when digitalised.
The symbol ∞ carries a dual meaning of finitude and infinitude. On the one hand, we are so concerned with the originality of a work of art that historians would go at length to test the authenticity of a painting. The quality and value of the work in this case symbolises the infinitude whereas it is also finite in physical nature, as only one original copy can exist. On the contrary, when an image becomes digitalised and uploaded, its value becomes diminished and yet it can be disseminated infinitely through endless downloads. Thus two loops represents this ongoing eternal continuum where the finite and infinite coexist.
In the project, we collaborate to make a collectible 'coloring' book and prints using new and existing images of our artworks. The process of it involves digitally manipulating original artworks of the two painters. Painting distinguishes itself from drawing because the layers and colours are undefined by strong and definite outlines. The process of extracting the colours and reconfiguring the composition for the book and print has caused us to reconsider the significance of how lines and shading differ in painting and drawing. Further, the process of printing and press in the making of the book and prints involve technical and decisive approach on how the order of layers, lines and shades impact the final image.
By removing the colours, it references to what is going on in the digital culture and the Internet world, where people are free to appropriate data or image, manipulate it and call it their own. We observe a digital culture where individuals depersonalise authentic and original contributions of others. Hence, the 'colouring' book and prints are a metaphor for the lost of authenticity and authorship, leading to the free dissemination of images where people adorn their personal imprints and marks.
Kennis Chan, www.kennischan.com
Yu Ting Ong, www.yutingong.com
The symbol ∞ carries a dual meaning of finitude and infinitude. On the one hand, we are so concerned with the originality of a work of art that historians would go at length to test the authenticity of a painting. The quality and value of the work in this case symbolises the infinitude whereas it is also finite in physical nature, as only one original copy can exist. On the contrary, when an image becomes digitalised and uploaded, its value becomes diminished and yet it can be disseminated infinitely through endless downloads. Thus two loops represents this ongoing eternal continuum where the finite and infinite coexist.
In the project, we collaborate to make a collectible 'coloring' book and prints using new and existing images of our artworks. The process of it involves digitally manipulating original artworks of the two painters. Painting distinguishes itself from drawing because the layers and colours are undefined by strong and definite outlines. The process of extracting the colours and reconfiguring the composition for the book and print has caused us to reconsider the significance of how lines and shading differ in painting and drawing. Further, the process of printing and press in the making of the book and prints involve technical and decisive approach on how the order of layers, lines and shades impact the final image.
By removing the colours, it references to what is going on in the digital culture and the Internet world, where people are free to appropriate data or image, manipulate it and call it their own. We observe a digital culture where individuals depersonalise authentic and original contributions of others. Hence, the 'colouring' book and prints are a metaphor for the lost of authenticity and authorship, leading to the free dissemination of images where people adorn their personal imprints and marks.
Kennis Chan, www.kennischan.com
Yu Ting Ong, www.yutingong.com
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