Tuesday, February 11, 2014
Visioneer's Gallery: Pixel Perfect
Alex Guofeng Cao’s mosaics from our collective photo bank
There's something magical about seeing a photograph, getting up close to it and discovering that it's composed of tiny individual photos that reveal themselves as a secret hidden within an innocent artwork. The art of mosaic imagery goes back centuries when the ancient Greeks, Romans and Egyptians used small pieces of tessera-shaped materials including stone, glass, pottery to create a grid of cubes that would eventually lead to a single cohesive image. Having evolved from pebble floor coverings and church interiors, the mosaic has found its finest poetic symbolism in contemporary visual arts in the concept of the pixel—the fundamental building block of a digital photo. After all, every digital photograph when zoomed in to its smallest individual pixels is nothing but a mosaic-like variation of brightness and color values assigned to single pixels.
In one of the earliest known experiments on photo-mosaics, Leon Harmon of Bell Labs created "The Recognition of Faces," an image of Abraham Lincoln created digitally from a collection of solid gray mosaics to show that the human eye only needs a small amount of detail to recognize a face. That simple insight acquired less than 30 years ago altered the landscape of visual communication and enabled a way of interacting tangibly with digitally printed photography through the concept of continuous-tone printing. Large photographs printed as giant outdoor graphics like billboards essentially created an impression of a photo to trick the human eye into perceiving it as a continuous-tone print instead of the actual dots of pixels per inch manner of which they're composed.
Just as an algorithm assigns values to every pixel within a photo image, Cao breaks down every portrait he works on into thousands of pixel forms, eventually replacing them with individual photos. Cao's approach to creating his mosaics is imbued with deep symbolism. He carefully juxtaposes his famous subjects with an equally popular figure to expose a symbolic relationship between the two. Cao's portrait of Barack Obama, for instance, is composed entirely of tiny photos of Abraham Lincoln. Some of his other pieces include two portraits of Marilyn Monroe, one composed of photos of John F. Kennedy and the other of the Mona Lisa, a portrait of James Dean built with photos of Elvis Presley and a portrait of a starving child in Sudan created from the smiling photo of Jimmy Carter.
Such juxtapositions shift our focus from the photograph of a single person to the ideologies, stories and inspirations that lie behind the individual's identity. In Cao's work, popular figures aren't merely individuals—their presence is tied deliberately to the stories and inspirations that surround their personal mythologies. When viewing Cao's works, we bring our own interpretations of the "pixel-sized" figures and project them onto the portrait that confronts us and we refamiliarize ourselves with the individual.
Cao builds fine art from popular photos that have become part of our collective cultural memory. He dives into the photo bank of that public memory to remind us of the influence those images have had on our society. Cao's black-and-white fine-art pieces have grabbed headlines at Art Basel Miami for several years now. He has gained commercial success and has been called the "must-see" artist of Art Basel.
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