Floriculture, 2010, 183 x 305 cm
C4, 2010, 100 x 1oo cm
B3, 2010, 95 x 95 cm
C12, 2010, 95 x 95 cm
F 2.1, 2010, 95 x 95 cm
F9, 2010, 95 x 95 cm
C3, 2010, 95 x 95 cm
C7, 2010, 95 x 95 cm
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My work is a mixture of digital imaging, photography and painting. I work in the studio and on the computer to make large photographic pieces. The visual language I am attempting to develop through my work is a combination of Dutch Still life painting, Arabic rug making and Celtic book illustration design. My purpose is to examine the plasticity of digital imaging and the interchangable languages of pattern and decoration as an expression of stored meaning.
In The Instant Garden, a huge, heavily manipulated image modelled on an ancient Persian carpet, [Lisa Creagh] has taken tiny sections of still life flower shots and moulded them into an intricate, highly decorative pattern – laughing that in doing so she’s combined three deeply unfashionable things: flower photography, heavy Photoshop and the decorative.
Creating abstract patterns with beautifully lit still life elements were a way to express this synthesis, but although Creagh’s image is underpinned by algebra, it was painstakingly handmade rather than mass-produced – Creagh crafted each section of the 10-foot final print, rather than simply making a quarter and mirroring it.
“If you create something very symmetrical, the eye tends to see it and dismiss it,” she says. “You need lots of imperfection and asymmetry to create an organic feel. I wanted to use that language of traditional decorative arts, creating something that’s designed to be looked at for a long time. Beauty and the decorative have been excluded from art for 30 years or more because there’s been a predominance of the conceptual over the visual. I hope to restore that tradition to some degree and reclaim it. I think it’s coming back in with digital photography.”